THE NICKLE TOUR
Even that my principal sphere is visual art my subject remains centered in the noetic concerns that mind probes of this reality we perceive as the event of life. The subject is a riddle to be sure; and through the ages it is conjured to the extents that Imagination might take it. And it is wondered beyond itself, where we drift in our conjecture only to reach a new threshold with the same old itinerary dubbed the Mysteries.
Along our way the explorers of us journey in many directions; some to the infinite reaches of space, others to the minute of quantum physics; some wonder the chemistry of the event, others probe the spirit of a mind or test hypothesis beyond what we know to the what-else that might unfurl from the shadowy corners at the extent of consciousness. Whatever direction is recognized, there is one of us willing to embark into its unfathomed recess. Ostensibly that is my own endeavor; an attempt to find the harmony of forms that propel mind to the far reaches of the noetic experience, of consciousness and the intelligible – perhaps to glimpse the purposiveness that it rests in. And to that end I claim: What we are aware of is withstood by something far less complicated or complex but which would have us believe otherwise.
So I probe ‘creative image’; specifically my thesis is concerned with these examples that: are singular as opposed to sequential (wall art rather than animation, film or video); two dimensional in their materiality (but then again multi-layered and intelligently dimensional beyond any literal bearings); besides the static posture the images are breathlessly quiet – yet that does not mean they are silent (on the contrary they are said to be most talkative and evocative). Within that ruling is a vast world of potential, more than I alone would have time enough to explore – in all honesty the assertion is an infinitely expanding compendium of circumstances; itself a timeless discipline or might I say art.
The subject is examined in books that I have arranged over recent years and make available here as downloadable PDF files. The experiences are examples of the potential that can develop out of a mindset that is willing to ‘hear’ what visual creative forms suggest to an active imaginative consciousness, a cognitive Imagination. Such attitudinal resolve and self-possession is in no way ego-driven it is simply ‘in sympathy with all that is possible’. What is described throughout the compilation of experiences is that images need not be consciously designed; images will virtually constellate themselves if given the opportunity and circumstances to do so.
What I am proposing is that the ‘artistic’ image is inherently capable to bridge consciousness with its least demonstrable terrains that occasionally surface and become acknowledged – even that they remain outside the rationale we refer as authentic, real. These images foremost cooperate with the original mind that recognized them – the artist. But in my scheme the proposals that are suggested to one mind are steadfast and would be qualified by any mind (not literally but reasonably), in any time or circumstance thus familiarly pivotal – making the posture universal, archetypal, and prepared to be given individual topography that is collectively contextual. Basically we are speaking of a common or shared point of view that crafts equilibrium where once tireless duality reigned – instinctual, speciated; an ethos without irrelevant social constraint or prejudice; an outcome, consequence, of the inclusive dimensionality of Intuition (the yet active residue of 'absolute Truth').
So the notion is that Intuition and its handmaiden Imagination, used more efficiently, hold much promise for the human mind. One artist, one viewer at a time, the notion of a common denominator that infiltrates controversy gets footing; tilts individual rationales from conflicting trajectories; to an individuated, paralleling, and underlying principle - or so it is hoped!