What my art is about
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WHAT THE FIRST STYLE WAS ABOUT: THE CALCULATION OF INSTANTANEOUS CHANGE
The genesis of my first painting style was a rigorous investigation into the mechanics of delta and Delta—the mathematical computation of varying forms of change. My objective was to capture instantaneous change by creating a living visual event that occurs entirely within the spatial transition between two physical vantage points.
This conceptual breakthrough was fully realized in works such as 'Meridian' Through years of experimentation, I engineered a highly controlled methodology of layering thick, structural passages of pure oil paint precisely on top of one another. For example, while the face of the sun appears natively as yellow when viewed straight on, an entirely different tonal layer rests immediately beneath it. As an onlooker naturally shifts their feet along the gallery wall,
the changing physical perspective causes the light to refract and shift dynamically, generating a striking, live glimmer across the canvas.
A Legacy of Isolation and Breakthrough
Because this original style was exceptionally complex, labor-intensive, and financially exhausting to innovate, it stands as an entirely unique historical marker in contemporary painting. Some individual canvases demanded up to a full year of continuous studio execution, ultimately absorbing my life’s savings. Most of these historic pieces have been successfully acquired by private collectors or donated to philanthropic benefit auctions. While these experiments were massive creative successes, the immense stress of their creation took a heavy psychological and physical toll.
At a certain point, the relentless demands of the style led to a profound mental breakdown and severe crisis, including nearly committing suicide
twice in an attempt to sustain the output. For critical health reasons, I had to make the permanent decision to retire this physical technique. Furthermore, navigating the traditional art world posed distinct barriers. While this early work briefly caught the attention of premium galleries and was formally invited to major exhibitions in New York City and Singapore, the structural constraints of my autism made it nearly impossible to participate. The expectation to live in dense metropolitan centers, engage in high-pressure social networking, and manufacture a high volume of work conflicted directly with my cognitive architecture and studio stamina.
Today, these early masterworks rest securely on public and private walls out in the world, surviving as a permanent, closed archive. Rather than ending my practice, this survival timeline forced a necessary, brilliant pivot—allowing me to preserve my health and transition entirely into my current seated methodology, where I continue to map out deep line studies, shifting visual directions, and universal systems within a sustainable studio environment.
Now that I have had a break from that style, and worked on another, I am returning to combine it to a new style.
Several renditions of a concept of Primmer (two 'm's) were created. The first idea was to use paint to alter the color when looking from different angles.
When limitations came up, I created a way to make slats. When a test try worked (below), I tried several tries, but found the slats too hard to paint on.
Then I tried painting two paintings and turning them from painting to painting. This worked, and I was able to create different kinds of movement, change, and instantaneous change.
However, it was time consuming and I decided no-one would care enough to buy it anyway. People in general seemed more interested in buying art that looked good in their homes than buying good art.
In the end, I came to the realization that there was a place to put my art, but the chances to see it there, due to my lack of history in galleries, mental diferences (NOT disabilities-autism is not a disability), and more, were near zero.
I stopped creating ideas altogether because I just didn't see the point. This was not only true for art, but for just about everything I did that involved using my head. The only thing I did continue was my math idea, and I don't show that online, anyway.
Using delta in my artwork:
Painting Between Canvases
Following my initial work with physical paint depth, I initiated a rigorous study in spatial continuity by executing two distinct paintings designed to transition dynamically from one to the other. This dual-canvas framework, as demonstrated in the painting, allowed me to manipulate complex dimensions of movement, structural change, and instantaneous translation across a split plane.
This one piece establishes a highly tactile, heavily emotional organic narrative.
The front panel functions as a systematic, geometric unzipping of that exact environment, translating organic tree lines and geometric shapes into disciplined linear algebra coordinates, sharp lavender vectors, and rigid emerald matrices. By doing this, movement and the variation of movement over time can be created.
As you look at this, the circles make your eye look still at the painting, but you also get bored. In regular art, if you have a circle (in the center of the art especially) you might get bored, quit looking at the art and move on to the next piece.
Because of this, artists usually avoided using circles in the center of their pieces (they were often called 'bulleseyes').
I wanted to find a way around this. When the image changes, I painted a triangle, which created movement. This way the art would be still, and then move on as it changed.
I did this with many things such as color.
I also created drunk/sober paintings (see below), which took advantage of environmental change. When I was drunk, I painted, and then when I was sober and caffienated .
This was one of my drunk/sober pieces. You can see where I was drunk and how the contrast between drunk and sober really brought out the piece. Where I was drinking, there was more drive and uncontrollable painting. The contrast really made more interest in the work.
The Synthesis of Contrast:
The Drunk and Sober Series This specific painting functions as a major component of my historical 'Drunk/Sober' series. The work explores the stark, uncompromised structural tension between absolute cognitive control and raw, volatile impulse.
In the sections executed during periods of intoxication, the paint application shifts dynamically into an uncontrollable, high-velocity drive—producing visceral, erratic marks that contrast sharply against the meticulous, disciplined geometry of the sober passages. This intense juxtaposition generates an uncommon visual friction, elevating the underlying structural complexity of the canvas.
The Physics of Sacrifice
Because my biology cannot naturally digest alcohol, the creation of these specific pieces required an immense, agonizing physical toll. Executing these canvases meant enduring severe systemic pain and entering periods of profound communicative isolation within the studio. Operating entirely alone, I sacrificed my physical equilibrium and life's savings to map out these volatile dimensions of change.
Despite the absolute success of these experiments, this body of work originally went unvetted by traditional art societies, receiving neither commercial compensation nor public institutional notice at the time of its creation.
Furthermore, the structural constraints of my autism inherently limited my capacity to navigate the metropolitan gallery networks that typically house high-concept abstraction. Rather than adapting my life to fit standard commercial structures, I chose to maintain an intentional, stable studio perimeter—remaining anchored in a familiar, controlled environment where my intellect could operate securely.
Curation and Archive Signifiers
To formally catalog and preserve the provenance of this distinct creative era, an administrative indicator will soon be integrated into the portfolio records. Every verified canvas belonging to this specific historical methodology will be designated with a star marker ( ⭐️ ) on the primary style inventory list. This system establishes a permanent, traceable archive for these rare, closed-era masterworks.
Warning; if you have issues/seizures with quickly flickering images, don't watch this film...
In this moving image, you can see one color, and then another. They constantly shift creating a new illusion of a color that doesn't exist in reality. This is delta, or instantaneous change... change in your mind.
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