What the viewer brings to these works and how that contribution reacts with the work is what is seen. Also certain portions of the original physical work exist only inside the viewer's head (see Moire" and Parallax in the Awakened Pyramids). But a brief explanation of the environment that contributed to the awakened pyramids may provide an expanded context for experiencing them.
Using an iconic geometric figure, the pyramid, and through opening it up, adding the emotive force of natural textures, the lightness of transparencies and virtual motion making the image struggle to move into space. In this way the work creates a virtual tension between the pull of the picture plane, gravity, the rigidity, the implied weight of a pyramid and a kind of exploded winged transparency, lightness and movement.
This tension is an expression of the urge to take off, to be free, and to "escape our earthly bonds" moving against the forces that hold us back. The awakened pyramid often succeeds in extending beyond the edge of the surface it is on, but in doing so, is locked to that same edge. Five of the pyramid pictures here directly relate to the sign for the oppressive, claustrophobic, and fearful environment of a nuclear bomb shelter, the 3 inverted pyramids of Awakened Pyramids #117-119, 120-122, 128-130, and 131-133, also Awakened Pyramids # 123-126).
The Awakened Pyramids also evolved from a reaction to a mid 1900s critical emphasis on preserving the reality of the essentially flat picture plane, a situation that finally drove many artists to sculptural forms.
Then we landed on the moon! Many images of man floating in the vast reaches of space appeared. For the artist, this was the ultimate denial of the flat space without depth of astrology (the Grand Central ceiling) and also a denial of the space illusion implied by the relationship of visible objects and linear perspective, the viewer fixed in front of the frozen window of photography and Renaissance painting. The artist chose to confront the struggle within the traditional confines of something you hang on a wall. A space moving from the picture plane, one that would be essentially non-relational and in flux was needed. A space that would leave the viewer able to experience it through his own movement (feed back). A virtual expression of this space used two common visual experiences, moire" and parallax (see Parallax in Art ).
Now these pictures have moved into a new space, Cyberspace. They exist as 1s and 0s. They manifest themselves through glowing phosphorus, plasma, and liquid crystals and travel by satellite.
These visual possibilities have been given form through human minds and hands from all that we find already around us.
The choice of a pyramid has less to do with the focusing of positive space energy like Wilhelm Reich's Orgone Box, than it does with an architecture magazine cartoon showing two ancient Egyptians standing in front of a pyramid, one saying to the other "Plug it in Ramses, see if it lights up".
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