The collections of metal art are both current and/or older works of art that I have re-designed and refined within the last year or so. Many of the designs have been in “cold storage” since the early 90s, simply because I have either not had access to tools or that I had not developed the methods to complete them, . . . or I’ve been harboring them for reasons unknown. These few pieces only represent a sliver of what I wish to achieve. They are at the core of some aesthetic principles which need further exploration, and though I see what these will become, all you have to work with is what you see now.
I know through personal experience and observation, that my visual design aesthetics have been many years ahead of its time, at least if comparing it to current design aesthetics, engineering concepts, and the like. I say this, not to take more individual credit than is due in cultivating the future, but rather to remind myself that active participation in the fostering of my intuition has depth beyond the ordinary. I know there are many who call it “creative visualization”. And yes, in part that is exactly what it is. However, whether or not there is any real creative intent, or whether the visualization stems from physical/soulful/mindful bonds with our past/present/future experience, I do know that the birth of these ideas is realized “into the Now” and cannot be undone.
It’s affects are forever reaching, forever modifying this moment in all time (the sum of all parts) moving forward. The effects of which are the roots that bring about change through and within other sentient beings. It becomes interlaced with both the physical and mental space in which we exist. This space (a dimension if you will) is a defining barrier from which the spiritual being feeds and transmutates. It is where the dogma of spiritual realization grounds itself and allows us to permeate other boundaries. That is what I would like to believe, . . . it is difficult to trace.
To place or not to place a descriptor on the work? . . There remains a question of whether or not these items fall into a certain prescribed category in either “fine art” or “functional art”. There exists an unspoken narrative cloaked in obscure values placed upon creative works that, only through the perception of its discovery (whether in public or funneling of private viewing), classify an objects value. Without arguing the why and why not of such, I struggle with this unfounded facet of art criticism. I choose to release it to the world, regardless of this synthetic illusion of value, of which is unmeasurable and ultimately unquestionable.