In Transcriptions, I rely heavily on inscribed passages of invocations to fields of color expression. Although each is independent of the other, they nonetheless, form an all-inclusive imagery. These intimate 'writings' evoke certain shapes in the imagination released in the painting process to become a form of in-scripted painterly marks. The in-scripted imagery becomes a language that cannot be read but rather a substance of radiant energy.  Inscribing and erasing my writings as I built the imagery in my work reinforce my symbolic understanding of the universe and of nature as a great pictograph. Each time I paint, my perception through this new understanding begins to see the reality of my subject as something that is simultaneously separate from and synchronized with its image. This approach connects painting to the physical, natural and social sciences. It is looking at my surroundings with 'two eyes' - its intangible, and physical - simultaneously.

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