mark
lawn

I only paint when I feel energised. I can be anywhere in the world or at home . Not working in a stale art studio where there is a feeling of Completion Compulsion and allow work to breath in its own hope . To look at a work and know when it is finished is a huge challenge . Working with photography, still life and the primary use of water at the beginning with acrylic for the abstract pieces and later to add layers of oil and Brazil nut together with walnut to create a sheen for the final finish. Trusting that art is suppose to be connected to forseeing events and observing reflections of the past . For example when I was working with hieroglyphs and developing a technique of spontaneously working with symbols through whole sketch books , some of the recent images displayed words and miniature stories that were dualistic , actually happening the very day and moment .
Working energetically is of utmost importance and working over a few canvases at once induces a trance state and also loosens apprehension and anxiety to create a deeper space into the subconscious or dimension even if it for a few moments. It is the essence of a piece and emerge as a brush stroke, symbol , a word or phrase. The end result is to calm the mind whilst working the mind: opening and widening channels for visionary experiences in the state of being.
This summer I visited Romania and spent 3 months on my own staying in various places , meeting random people and observing areas that I had no connection or history to. I was in an abstract bubble , sometimes lonely , tired , energetic or depressed. The buildings , festivals and at times the whole country communicated with me and my art. I surrendered and tried to hear and listen to what it was saying or communicating without words or even images.
I had an a6 notebook and would feel the need to interpret the information which began when I was feeling claustrophobic . I found this phobia was connected to an interesting energy where one has to adjust to being in the moment to heal oneself and spontaneously with a pencil drawing images , symbols and phrases at iregular intervals. One of these images was a huge wheel divided by eight with a tunnel shape and a few weeks later I arrived at a Unesco site with a very similar image . The shape was almost exactly like I had drawn as if it was Remote Viewing and it was part of a Lost Civilisation Sacrificial Burial structure with a history of alchemy and craft workshops. I also channeled the site with a background of Archangel Ascension where one receives and absorbs information on a higher spiritual plain also known as clairsentience , clairaudience and clairvoyance. Feeling the space , recognising and communicating with the lost civilisation can be very dangerous and one must respect the innocence and the darkness together with the light. Like all art one has to accept the situation that is in the present and be open to interpretation , subjective and not to analyse information that is given in a logical way. It is timeless.