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Global Climate Change II (2024), 24 × 30 in.*
 
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The painting was designed akin to a NASA planetary flyby with a more interesting pattern. Psychological oddity: flipping the image 90° provides a more familiar astronaut perspective where the planet feels closer with a sense of movement toward the horizon.  Turn this image upside down and the pattern suggests Antarctica, suggesting similar wind and atmospheric forces in shaping the continent.

Every Thing Consists of Organized Atoms: Canyon  (2023), 40 × 30 in.*
 
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Derived from a snapshot taken of the Grand Canyon from an airplane, the painting can be viewed three ways depending on distance and thereby gain appreciation of its title. Up- close, only the abstraction of circles in zones of a limited palette of browns and purples is noted; further back the appearance of a canyon is discerned and the atomized effect is superimposed; at a greater distance, when circles are blended into the soil and rock, only the commonly regarded terrain dominates. The viewer can either approach from afar or begin near across the three distinct perceptive distances.

Perceive the wind, perceive the dance  (2022), 36 × 36 in.
 
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Influenced by New England tree hues in autumn, the contrast of blue/orange can be perceived dimensionally, with the lake seen as a hole in the above planar tree array.
 

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Taken from an aerial view of a river in the Amazon basin, with study it becomes more metaphoric. For instance, look for patterns and the mind will play games, pareidolia. Sometimes words seem to form, other times, different zones of light and dark, large and small, and  near and far are apparent, but the patterns shift around. Are the circles trees, or atoms, or globular molecules? The river arrangement is representative of Tao, of wabi-sabi. Thus, the relatively simple composition, like an Asian one-stroke ink brush drawing, opens psychologically and philosophically.
 

For exhibition, the painting should be rotated 90° with intervals of daily up to 2 weeks. Painting is signed four times per canvas side.
 

The Living Night (2017) *
36 × 36 in.
 

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While based on a photograph, the color palette is altered to emphasize a living, vibrant, holistic city-organism. Night hides the flaws and dreariness of a city, and although it also obscures the joys of architectural detail, the nightscape takes on the magic of a bioluminescent landscape.

Path of Serenity (2016)
36 × 24 in.

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Another Buddhist painting, the nighttime street scene is the Itaewon entertainment district of Seoul, Korea without its crowds. Zen monks, one striking a moktok wooden percussion instrument, are present instead. The contrast of the gray-clad monks of different technique with the busy, flat geometric, multiple neon-lit street is obvious, but it does represent the meditative state of mind. The colors this time are essentially actual, taken from a photograph.

Also in Interiors & Exterior Series

As If (our mosaic world)  (2016), 36 × 18 in. 

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In this illusive world, we see solids and smooth surfaces, but this is false at great magnifications. The world is a mosaic of fuzzy atoms whose composite reflected photonic image is cast upon our retina of individual cells, each providing neurological signals that are deconstructed as to line and shape and reconstructed and analytically correlated into categorical perceptions. The painting's shimmering sky and water represents such atomic dynamics and the fluidity of the environment surrounding a perceptively solid, steadfast city of Venice and its Rialto Bridge.

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In Buddhism, things are neither sacred nor secular, but our cosmos is defined by mathematics, and shape in part rules behavioral processes in chemistry, biochemistry, and material science. Taoist principles concern harmony and balance of dynamic forms and space. Thus, while not holy, geometric forms are wonderfully important. The painting consists of geometric shapes and in a way atomizes categorical structures. The painting is based upon the Chengyang Bridge in southern China.

Archive of Memories   (2015), 36 × 24 in.

To be viewed afterwards with an associated hand-held red filter [as camera lens filter]

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The painting is based on the national library in Brasilia, which does not have a mosaic on its wall. This is my invention, which suggests the incomplete, sketchy basis of memories and how we filter the scattered engrams to emphasize elements. The river mergers, trees, and hills refer to Brazil.

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Waves and ripples are ephemeral patterns of movement within a larger structure. The watercourse way, Tao, is the metaphor of interactive processes of essentially no-thing, as is music.
 

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The building and wall is of a Korean monastery with the background being a composite of Korean mountains. The contrast in styles depicts the different perspectives of reality according to experiences within Hwa-om / Hua-Yen dharmahatu: the common way of solid, static, independent objects; the flowing, indistinct co-dependent elements of form; and the simultaneous perception of both within a larger framework. [Scientifically, try to visualize the world as interactive and flowing categorical constructions [behavioral patterns] of atoms and molecules].

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This work is derived from neurological processes and theoretical physics.

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This is the Central Bank of Brazil in the Capital, Brasilia.

See: City Synthesis — Skyline Series

See: City Synthesis — Resonance Series

See: City Synthesis — Interiors & Exteriors Series

See: City Synthesis — Developmental Stage

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