Ergot of rye

These paintings are different. They do not aim to be yet another interpretation of visible reality. Nor are they merely a sensation or a feeling to be communicated abstractly. They are not landscapes or figures observed during a walk or a visit, either. These paintings emerge from an in-depth algebraic and philosophical exploration of chaos theory. They are highly unorthodox versions of the equation that generates the Mandelbrot complex plane—equations, personal unknowns, seeking their answer upon the canvas. I no longer paint what I see, nor what I feel. I represent—as literally as I am able—the Essence from which this formal Universe is forged. And in this, I include Time: through the rhythm with which these works are constructed, through the distance of some objects in relation to the proximity of others, and through the decay to which I subject these geometries. A thought that often brings a smile to my face while I paint is this: if space and time are as inextricably linked as we know them to be, then these near-infinite planes—in which I have been immersed for years—must surely hold the promise of quasi-infinite spans of time. The poetry of chaos begins by restoring to every being its own transcendental importance. Nothing is insignificant. To be minute is not the same as being negligible.