Quantum Artworks on Paper
Quantum Bio - Sonic Loop De Loop" Series #3 Quanta:"Brazilian Music Vibrations" Watercolor 22" x 30"
Quantum Bio - Sonic Loop De Loop" Series #3 Quanta:"Brazilian Music Vibrations" Watercolor 22" x 30"
Quantum Bio - Sonic Field Jazz Series #6 Quanta:"Resonance Centra-fusion Vibrations" Watercolor, acrylic, and vinyl collage series created to music from the Afro - Celt Sound System, Mali musicians, and Afro - Beat groups.
I have painted audio/ visual quantum bio - sonic watercolors to recorded music on site in the Colorado mountains since the 1980's. I have used Jazz, Indigenous, Rock and World music from a variety of musical traditions and instrumentation. The Rocky mountain national park system has provided me the resonance of its streams, its geological
I have painted audio/ visual quantum bio - sonic watercolors to recorded music on site in the Colorado mountains since the 1980's. I have used Jazz, Indigenous, Rock and World music from a variety of musical traditions and instrumentation. The Rocky mountain national park system has provided me the resonance of its streams, its geological ordering systems and color filled Fall trees that have inspired my watercolor rhythm quests. The captured optical color energy of color has been fundamental to the studio development of other mediums. The translation of the nature's sonic rhythmical essence from the field site watercolors, drawings, poetry, and photographs have grounded the integrity of the harmonic order needed to recreate their resonant properties onto a canvas or paper medium. The on site nature audio taped recordings collages of a variety of music recordings challenge the perceptual awareness and physical color ordering of the watercolor painted mark notations of a particular site's natural ecology. National parks throughout the southwest four corners area have been my studio away from Dallas. I camp, hike, and spend hours on the ground drawing, painting, or photographing nature's amazing operating systems to develop concepts from these experiences for future application to multiple mediums in studio projects.
I also have painted at sacred Native American park sites where many rock art paintings are located. These sites are holistic in nature and have their own harmonic ecological relationships. At times I have been able to tap into the spirit world and soul power of their sacred nature and capture its essence and lessons.
My watercolors are an a record of the spirit of the National Park's phenomenal systems, mysteries, and sacred holistic psyche. I also practice Transcendental Meditation, eat a healthy diet, and replenish my intuitive knowledge of my 'sonic body' soul/spirit at these sites.This sensing process assists me in coordinating the audio visual experiences with the consciousness of all nature phenomena. The recorded music from musicians of multiple genres, countries, and instrumentation offer me an opportunity to 'entrain' with them and their collective consciousness while harmonically ordering the colors produced in each watercolor composition. These talented musicians, their cultural influences, and unique instrumentation have given me rhythmical insights into how to direct the color and brush work. This challenge keeps the audio visual and heart felt responses to them and nature fresh and exciting. Feeling these sensations determines the quantum use of imagery, color combinations, and rhythmical gestures discovered at each site.
The music recordings are collages of different musical styles from Jazz to world - music that assist me in finding resonant vibrations within the geological crystalline ordering systems of the mineral kingdom above which I paint on the ground at each site. I use the assistance of a quartz crystal at my work site to amplify and direct the bio - sonic vibrations of these conditions in organizing the watercolor painting rhythms, colors, and compositions overall energy and dynamic quantum flow of the aesthetic coherent exchanges. This rhythmical energy flow is heightened when I am in the mountains, near a stream, geological 'hoodoo' formations, and within an animated plant world presence, especially Fall tree leaf coloration.
My 'Quantum Way' watercolor experiences in Nature illustrate how the Taoist poetic nature of the elemental influences of the wind, water, earth, and fire can operate in an artwork. The bio - sonic 'Quantum Way' of recording natural phenomena creates new multi - dimensional color/ sound possibilities that can be recreated and amplified into future studio creative consciousness explorations of all my studio media processes, tools, and material applications.
Sedona, AR., Oak Creek Canyon has become one of my favorite places to paint. I have been making color energy entrainment watercolor studies of Oak Creek's rhythmical energy patterns, sounds, and connections to it's ecological neighbors for years. I paint to music alongside it to see, hear, feel, and 'resonate' with the spiraling sonic en
Sedona, AR., Oak Creek Canyon has become one of my favorite places to paint. I have been making color energy entrainment watercolor studies of Oak Creek's rhythmical energy patterns, sounds, and connections to it's ecological neighbors for years. I paint to music alongside it to see, hear, feel, and 'resonate' with the spiraling sonic energy of it's magnetic fields and 'water music'. Through water and color I try to capture an entrainment of consciousness with the musicians, their instrumentation, and emotional energies and transpose their sonic expressions through the dynamic water field force magnetic vortex energies, swirls, and currents into watercolor painted magic.
I became aware of the creative power of the entrainment forces in water and its harmonic ability to organize movement while painting in India, along the mother of all rivers, the Ganges river. Those water - color forces and spiral designs were transferred then through the watercolor medium to paper and the complete harmonic entrainment color consciousness process. The cosmological hydro - logical cycle energy starts in the Himalayan Mt. ranges .
I have hiked and painted in many canyons throughout Arizona and even in the depths of the mother 'Grand Canyon' and along its Colorado River. I have worked at cliff house sites, where ancient Native American spirits dwell and still inhabit. Those experiences have been some of the most poetic experiences I have ever encountered, as well as ceremonies at stone medicine wheels and sweat lodges. This water spirit filled watercolor was painted in Oak Creek canyon.
The Canyon Circle of National Parks in Southern Utah has been my outdoor studio away from Dallas. Artworks on paper made in these parks have been the foundation of my 'Quantum' art development since the mid - 1980's. Through watercolors, drawings, poetry, and music I have captured on site Utah's natural phenomena; magnificent crystallin
The Canyon Circle of National Parks in Southern Utah has been my outdoor studio away from Dallas. Artworks on paper made in these parks have been the foundation of my 'Quantum' art development since the mid - 1980's. Through watercolors, drawings, poetry, and music I have captured on site Utah's natural phenomena; magnificent crystalline rock color changes, the rhythmic dance of the Aspen tree Fall colored wind blown leaf mobiles, and the canyon Taoist spatial conversations between dried out Juniper trees and geologically sculptured 'Hoodoo' totemic sandstone figurines.
These on site canyon encounters with natural phenomena along with audio recorded music are the quantum aesthetic foundation for the color energy essence of many of the my studio abstract paintings, sculptures, and mixed media artworks.
The four corners region of the southwest has evolved my creative understanding of what it means be aligned with the sacred holistic geometry of our 'Mother Earth'. The Native American rock painting sites, and their mythological symbolic depictions of other cosmological spirits have enhanced my curiosity and enigmatic desire to learn more about universal quantum aesthetic perspectives and the operation of consciousness.
Overall it is the awesome character and shifting coloration of the Aspen mountain trees that moves my brush along to the recorded music I use to amplify my bio - sonic awareness of all harmonic sequences in observance. This harmonic entrainment with the dancing Aspen leaf movements in the changing light and wind throughout a day of painting allows me to swing and sway with these dynamic tree rhythms. The tree and music exchanges are a great joyous challenge to my quantum watercolor painting aesthetic. Each site represents a watercolor that exemplifies the heart felt love I have for time spent painting in the presence of those Utah Aspen mountain wonders.
Utah, Red Canyon - Quanta:"Red Canyon Striped Visionary" W/C 28" x 35"
Collage Series Quanta:"High Flyer" A, MM, Oil pastel 30" x 40"
India W/C 36. Quanta:"Pure Entrainment" W/C 22" x 30"
The "Is that Jazz?" series began in 1982 and is dedicated to a audio visual poetic search through my "collaging" Methods. Watercolor, acrylics and oil pastels are coordinated to the direct sonic sensations of jazz music to instill an aesthetic creative synthesis of both audio and visual mediums. Musicians music recordings from all over the world were recorded in an audio - collage manner on tape in different sequences to create a listening challenge while I was composing the many layers of the artwork. Thus the performance, timing, and composing to the musical vibrations; whether on paper, painting, sculpture, and or other mediums, had to be fluid and coherent. The music also assists me in timing the application of water based acrylic technology, watercolors, and other industrial materials.
Music is critical to the rhythmical selection and coherent timing of all color mediums and applications. The paint materiality is completely transformed by the bio - sonic physicality of my whole 'sonic' resonating being. My whole being performs to the music and color choices in a wide variety of heart emoted hand to mind media interactions required of the creative acts of each quantum expression. The title "Is that Jazz?" is from a Gil - Scot Heron song title.
"Collaging" is a 'verbing' expression that puts an accent on the performative, transformative, and informative relationships to the aesthetic development of the artwork. These actions create metaphors that ask the question; "what is the 'meta' for? to a bigger context, as well as a cosmological poetic framework . "Collaging" also addresses directly how we are participating in our digital 'cultural environment' in which there are many systems of possible creative interface. It does not reference the old paper and paste methods but all available technology and systems that are mostly considered commercial. When these systems are collaged then new systems are created with new materials. This dynamic process demands a quantum leap of creative curiosity and an aesthetic re - evaluation.
The watercolors that I have produced from numerous field trips to national parks have changed the way I now see nature and its diverse 'cultural operating systems' and worldwide (Australia, Europe, India, Canada, Mexico) potential of entrainment. These field artworks can now be transformed through digital print technology, acrylic paint formulas, and tools into new creative processes, including painting, photography, and other media combinations. Quantum art making is all about the exploration and inclusion of all creative cultural operating systems.
I have hiked, meditated, created, and made art in nature ,mostly national parks, since the 1960"s and have witnessed the dynamic forces it can present in trans forming the heart, body, and soul. The many nature sites I have had the pleasure of creating in worldwide, whose earth magnetic field energies, geological crystallographic sacred geometry, plants, animals and birds have filled many sketchbooks with ink and crayon drawings for future projects. These experiences ,when they are fueled by audio musical vibrations from musical traditions worldwide, unlock new visual information that informs my complete biological being with a new coherent flow of conscious aliveness. While creating at nature sites it is the mineral kingdom and its crystalline ordering systems that often inform my audio visual perception of the presence of its sonic geometry, color energy, and the psychic poetic offerings. Musical instrumentation can profoundly alter one's consciousness and creative alertness , atunment, and entrainment with the spiritual essence of all inanimate life forces. A belief in the audio visual capabilities to inform with its wide range of vibrational qualities a variety of heart emotions, whose vibrations can transform the many voices of musicians musical instrumentation into new quantum sonic expressionistic possibilities to harmonize with the bio - physical cellular processing of creative intelligence. The collection of audio visual vibrations during the perception of natural phenomena while painting, drawing, and photographing nature helps me to realize the potential of new 'collaging' processes.
Every "Collaging"(my word) process has many individual bits of information that can be aligned with natural phenomena, a wide variety of musical instrumentation that can be combined to structure complex sets of 'creative operating systems' that with a wide range of materials and digital , and technological data can be combined with analog heart and hand systems to develop new quantum coherent mind and body adaptive qualities that resonate with creative possibilities.
The vibrations from an 'ecological-tech' audio visual synthesis contributes to the poetic nature of the coloration, gestural rhythms, and emotional sensations embedded in these bio - sonic collage expressions.
All my compositions are formed from a complex mathematical system of crystallographic matrices, musical instrumentation ordering processes, a geomantic ordering of natural phenomena, watercolor field trips to national parks, as well as the holistic teachings of all Native American and indigenous societies. They all represent an ecological concern for natural beauty and nature's holistic psychic truths.
Enjoy the cosmological dance, iconographic symbolism, and the
meta - logic that is entwined in these "collaging" spaces and their timeless harmonic beauty that pulsates at the heart of their jazz poetry consciousness.
David W. McCullough
Quanta:"Sphericity Flight time" 18" x 33" W/C, Collage, Mm
Quanta:"Walkabout Memoirs" Acrylic, MM, Collage 36" x 36"
Quanta:"Southern Cross" 30" x 40" W/C, Collage, MM
Poetic Detail - Aluminum Plate reflective collage iconography
Quanta:"Heart Recovery" A, MM, Collage, Bark Paper 23" x 15"
My first beginnings with collage was at the Springfield, Mass. , Daily News paper co., at an after school job during high school. The art department work consisted of doing paste ups of advertisements. They were my first experience with a 'commercial' version of a 'collage'. The activity of following a layout for printing, by cutting out with scissors printed type set paper advertisements were similar to the techniques used by Max Ernst. According to Louis Aragon, "Ernst employs not materials but images: "printed drawings, drawings from adverticements, popular images, images from dictionaries and newspapers." "These images are subject to an array of working processes. They are cut apart, retouched and photographically reproduced; they are reassembled, traced, and copied in paint: 'Each tableaux attests to the discovery of an alternative technique." My experience with the cut and paste method, advertisement visual construction and text as well as the working process of their printing resolve for the newspaper use made for.future 'concrete' poetic' construction.
Physicist, David Bohm in his book, Creativity suggested that in order to create new perspectives on a discipline it was necessary to change the language that structured the ideas you wanted to explore. This 'wordplay' concept was used by Ernst and myself to realize the use of other processes to develop new procedures. Huizinga emphasized the importance of 'play',
In the theory of play, Huizinga discusses that play and culture are linked. He states that culture is developed and maintained through play and that evolution in play also leads to changes in culture.
"Play is older than culture, for culture, however inadequately defined, always presupposes human society, and animals have not waited for man to teach them their playing. Animals play just like men. They invite one another to play by a certain ceremoniousness of attitude and gesture. They keep to the rule that you shall not bite, or not bite hard, your brother’s ear. They pretend to be angry. And what is important – in all these doings they plainly experience tremendous fun and enjoyment.
Here we have at once a very important point: even in its simplest forms on an animal level, play is more than a mere physiological phenomenon or a psychological reflex.
It is a significant function – that is to say, there is some sense to it. * In play there is something “at play” which transcends the immediate needs of life and imparts meaning to the action. All play means something. If we call the active principle that makes up the essence of play, “instinct,” we explain nothing; if we call it “mind” or “will” we say too much. However we may regard it, the very fact that play has a meaning implies a non – materialistic quality in the nature of thing itself".
I studied the surrealist art works and saw a major exhibit of their artworks at the Boston Museum of Art in the early 1960's that encouraged me to explore a variety of materials and technologies outside of the art framework.I also felt at that time the need to explore the use of mathematics to evolve my compositions. It wasn't until the early 70's that I decided to examine the field of Mineralogy and the mathematics of crystals and study of crystallography, which led me to fourth dimensional geometry. In order to 'perform' the multiple tasks necessary to create sculptural wall reliefs I had to invent what i called," crystallograms" as a means of diagramming the spatial relationships and geometrical placement of three elemental shapes, the triangle, square, and line. The cultivation of mathematical forces, the chemistry of the acrylic technology, and the timing of tube line drawings had the need of only one more element to make the 'Collaging" of all these aesthetic elements to come together, jazz music. At play in these elements was 'consciousness' and its ability to harmonically resonate with these dynamic forces and assist me in the actual timing - performance of the relief surface. A poetic vision grew out of these performances to jazz music that manifested a new understanding of how information that is ordered through the mathematics of fourth dimensional space, music, and water based acrylic technology could be quantum coherence. The sonic body was now an operative creative aspect of the art material harmonic structure.
The poetry of this activity was the resonating actions of all the elements diagrammed in the crystallogram.
Andre Breton wrote of Max Ernst,"Ernst is possessed of a marvelous ability that causes the unity of space and time, memory was personal identity, to break apart. This ability makes him a poet who does not understand his own visions any more - as Breton implies - it makes him a poet whose relationship to his visions is no lom=nger merely "Platonic, but bodily."
"Ernst makes clear that he does not conceive of collage as an activity that is performed with scissors and glue: rather, collage is the basic principle od all the different procedures he used in his Dadist and Surrealist works, in as much as they all lead to the same revolutionary good." Ths same holds true of my experiments in Boston and Kansas City - all of which had in mind a "poetic abstract - sometimes political memorials" to King and Kennedy, who represented ethical and moral imperatives that had assisted me in becoming an artist through all the same social challenges of the 1960's (Civil Rights Movement and Anti - War resistance, as well as rock and jazz music gatherings/ concerts in Newport - Woodstock - Texas Pop). The beginning of Transcendental meditation in the late 1960's marked an important shift of poetic references to "light energy' seen as a force of color transformations in painting, ritual performance, and sculptural environments, and other mediums.
Collage in this expanded sense is not a technique for the artist's manipulation; it is a form of image production that takes possession of the artist's visual experience and is capable of affecting all people.
"...for Ernst, collage is always both; it is an unconscious process and simultaneously an artistic procedure with a superior capacity to emphasize the moment of fabrication."
For me I see "collaging" as a way to re- evaluate 'wordplay' into a fluid conceptual 'verb - action performative' that can activate the uses of processes, not just of art business origins, but also the creative use of commercial products, materials, and technology. It is through this shift in creative intelligence in the processing of new quantum aesthetic values that a 'Quantum Coherence" is obtained to then direct a heart - hand - mind perspective.
(Ho - quantum jazz)...jazz music concepts (Coleman - Monk - Coltrane - Brubeck -Davis) KC beginnings - 70's Litho plate MM collaging ....Australian outback intro to Dreamtime collaging crystallography - sonic programing ....geological projections from the mineral kingdom down under us..Layering processes sacred geometry .learn all there is to know about the poetics of "collaging" art-works and other processes that could be integrated into a new synthesis of creative aesthetic discoveries. I hope you are visually, emotionally, and thoughtfully stimulated by the 'quantum coherence' of the re-mastering of the poetic nature of audiovisual concepts and materials associated with a quantum energy approach to art-making processes.K
Field watercolors into the dynamic quantum aesthetic realm of audio visual canvases and mixed media artworks. Insights into new 'collaging' involvement since 'Gaia Poesis' canvas - watercolor, digital photographic input, iconography, and ecological tech remastering. Explain this journey into the 'Quantum World' of color energy and the musical mathematics of crystals.
Jazz poetry 'collaging' began in Kansas City in 1969. These artworks were photo images from social events, music, and people of the counter culture created on off set lithography plates and mixed media. In 1982 geometry, jazz music, and calligraphic expressions merged to form a new series on paper featuring the poetics of multiple bio - sonic color entrainment processes, called the "Is That Jazz?" series.
I have made watercolor field trips worldwide to explore nature, geological sites, cultural artworks painted on cliffs,and their relationship to music from all cultural traditions. My nature bio - sonic findings were then translated into improvisational colorful crystallographic poetic musical expressions later in my studio. The addition of Quantum physics opened my doors of perception to how creativity could be enhanced by a coherent exchange of consciousness through an entrainment bio - sonic processing of creative intelligence. Once the 'Quantum Leap' was made then all creative systems were in 'PLAY' to be converted through "Collaging" into all other mediums and new combinations.
The term 'Collaging' was necessary to change the traditional methods of collage into new active systems that involved all current technologies, such as commercial printing, water based art products, and industrial materials. This transformation created new ways of combining mediums to give the possibilities of color and sound to speak for all natural phenomena and other universal galactic frequencies. Now color and musical sounds have a voice in the creative processing of our conscious being and all artistic expressions.
Aura:"Geomantic Flight Progression" Oil Pastel on Paper 23" x 35"
1976 Mumbo Gumbo Series A, MM, on Paper 26" x 40"