In white light there is a combination of all the colors in the color spectrum that created all manifest forms that we can observe. It is in these functions of light and color in their energy forms that literally create the structure of matter. The chaotic beginnings of the cosmos was transformed into order by the speed of light in the electromagnetic wave and particle functions of color.

These current works are interpretations of the seamless interconnectedness between light and material forms. I also wanted to visually create irregular and uncommon shapes and colors for the challenge of achieving a perceptual balance in their apparent “chaotic“ and asymmetrical arrangements while simultaneously attempting to simulate a clear experientially felt sensation of intense vibratory movement and speed.

In the work “Betwixt and Between in Everything Seen” there is a reciprocal and dynamic interplay of vibrant color-intensive layers over unfamiliar angles and shapes. In becoming a participatory observer in a state of betwixt and between, or nowhere in particular, one can enable the element of surprise in everything seen because we can experience the unforeseen or expect the unexpected in a universe of unlimited possible outcomes. The intuitive imaginal seems to work this way.

Another point of view intended in these works is to connect with the subliminal feelings that seem difficult to define but, nevertheless, are indications of the pronounced uncertainty and unpredictability of the increasing magnitude of events that are impacting our lives. This conception can be experienced in the ominous irregularity of the sharp and angled forms in stark contrast to the inviting visual radiance of colors transported by the life-giving light of the cosmos.

The work “A Flash of Emblazoned Prismatic Light Emanating from a Solar Shape“ suggests a precise and bold accelerating revelation of explosive containment through the interplay of sharp edged shapes and vibrant colors.

The “Omegatropolis Bridge” represents the instantaneous passage that connects the trichotomy of past, present and future. It also connects the alpha and omega as the beginning and end points of a theoretically conscious universe. From here, the universe gradually unfolds meaningful informational timelines to help navigate discrete dimensions of hyperspace.

For me, “The Temple of Fire at the Event Horizon “signifies a manifestation of spontaneous genesis from the nonlocal immaterial dimension of the imaginal into the visible local material universe where light and color orchestrate and sculpt matter in a myriad of masterful architectonic forms.

I see the thematic authority of color at the speed of light in these works as an enhanced metaphor. One that will cultivate a more enlightened and harmonious authority in the relationships between art, science, our planet and the universe we are destined to share and explore.

Mela M
November, 2021