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Untitled 11 (2010). 40” x 50”. Acrylic polymer emulsion on paper mounted on canvas. Private collection. by intuition, I filled a squeeze bottle with paint and grabbed a panel. I set myself some very simple rules. Squeezing the bottle above the surface with concentration, I would make a line as parallel to the edge of the panel as possible. When I got to the end, I would turn around and continue, not too close and not too far from the previous line and parallel to the previous line, even if that line had strayed a bit. It was purely an experiment — I did not have any expectation of it being an interesting painting. After years of meditation practice, I thought it would be easy to go right down the picture plane with nice parallel lines, like a ruled piece of paper. But at this, I failed miserably. And yet, it was in that apparent failure that I found something intriguing. I realized that a cohesive structure emerged from this failure to make parallel lines and it was a record of, or representation of, my concentration, of my observing mind. So it started there and over the years I have slowly added more simple rules to the mix. SciArt in America August 2013 At this point, each painting has a detailed schematic and anywhere from 5 to 24 support drawings that help me identify the nature of the particular structure and help me to memorize it before beginning the painting. The inner architecture of the work is wholly dictated by what paint can and cannot do: the spaces between lines and how much paint can be put down before you get a mess, etc… But despite the structure coming from the limitations of paint, I soon found the work to be echoing structures found throughout the natural world. Later I also discovered complexity theory and the principle of emergence and found that the unexpected, but welcome “surprises” that were occurring in the work were in line with the emergent principle, where unpredictable complexity arises from a set of simple rules. I also later found a correlation in my work to Cymatics, or the study of the visible structures of sound, which can be seen most clearly with a Chladni plate. Discovering these ideas occurring in the work without my imposed intent has completely fascinated me. Whereas 17