A few years ago I read a biography of Jackson Pollack. In it he discribed Abstract Expressionism as the sub conscience expressing itself. The connection between art/artists, creativity and the divine or greater creative spirit is the theme of best selling writer/artist Julia Cameron in her book, "The Artist Way."Later I ran into similar ideas in the study of the Zen Arts. Fredric Lieberman in his thesis, "Zen Buddhism And Its Relationship to Elements of Eastern And Western Arts," states:
"Oriental artists are not interested in a photographic representation of an object but in interpreting its spirits . . . "
This connection between art and the spirit, whether divine or just inner has fascinated me. This leads me to wonder if my artistic practice is meditation. Has this been my practice all along in my studies of Abstract Expressionism, as Jackson Pollack defined? It even goes much further than myself. By observing my work the viewer meditates on the piece as well. This makes a converse from the viewer back through time to myself, at the time of the art works creation.
Artist Statement for “Industrial Zen”
In my art work I try to reflect a meditative relationship between me, the paper, the medium and the viewer. Most Zen art, especially the ensō, is done using brush and ink, so that the creation is a singular flow from the artist. An image of the moment, requiring the Zen practice of mindfulness. In my work I create images that I want to appear as if they have this flow but due to the sizes and/or mediums I use, it is a building process. I construct the images of zen and meditation, thus the titles, “Industrial Zen.” Although a constructive process, by using my own loose variation of the crosshatch style to the point of scribbling I attempt to hold to the idea of the “expressive movement of the spirit” and remain true to “Fukinsei, the denial of perfection.”