Paint Skins

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Birth of Duality, 2012 Poured Acrylic Paint Mounted On Board 68" X 27" © Courtesy of the Artist and Museum of Art and History
Paint Skins

665 West Lancaster BLVD
(Corner of Ehrlich Ave. and Lancaster BLVD)
93534 Lancaster

May 5th, 2012 - June 16th, 2012

Other (outside areas listed)
(661) 723-6250
Tue-Wed,Fri-Sun 11-6; Thu 11-8


Paint Skins is the title of this body of work because the paint is physically like a skin, and because it is portraying the surface of reality. The underlying vibration of reality may be outside our normal vision, but I am using the physicality of the paint as a metaphor for the existence of the tiny photons and other subatomic particles that comprise our physical world, and even what could be perceived as the nonphysical dimensions of this world.

Sandro Botticelli painted The Birth of Venus in 15th century Italy. The Italians of his day were enamored of the ancient Roman culture and so he wanted to paint the Roman goddess, Venus, as she was portrayed in ancient Rome as a fully grown woman birthed from the sea. My painting, The Birth of Duality, is inspired by Botticelli's painting and by my studies of the even more ancient culture of India. For 5,000 years the ancient rishis studied their universe and found ways through deep meditation to transcend this apparent world and gain an intuitive understanding of reality or God-consciousness. I myself meditate and oftentimes find myself aware of the underlying vibration of surface reality. My paintings come from my fascination with the dual nature of living on this planet, what we can perceive with our five senses, and what is available to us through other means.


Intuition inspires my work, but the paintings do not spring up as fully formed ideas. Sometimes I start with something I have seen in nature, or I may have a certain color combination in mind, or I may want a certain paint viscosity, such as thick enough to push around or thin enough to pour. For instance, The Birth of Duality began with my wanting to pour some beautiful blue paint. It wasn't until after the paint dried and curled up at the edges that it reminded me of Botticelli's painting, and the concept developed from there. I never know how things will turn out. A painting will take on a life of it's own and I stay open to the messages it is sending about what is needed next. What is most surprising to me lately is that even the narrative takes shape without my conscious intention. When the painting is done, the story becomes clear to me. Then I give it a title which seems to most represent what the painting is saying. The process is a metaphor for how I live. I do try to be quiet and listen.