This is a version of Topology of Hearts, Hands, and Minds that looks like chili peppers on a vine. It has green, red, and orange colors appropriately associating with such a notion. In the West, we are entering the holiday season; red and green are the standard colors associated with such a season.
I wanted to post this version after posting the one previous to it because I felt it is more defined, bright, and has more depth to it. It looks like the spiraling mesh of figures are casting shadows on a cement wall from a directional light casting light on them. It really looks like chili peppers on a vine. I hadn’t intended this effect, but in the free and experimental processes of creation I often stumble upon new expressions. It’s like a process of discovery; like some mysterious guidance is subtly leading me into areas previously unexplored.
The background in this version became increasingly evident as I adjusted the filters and settings to give it the shadow-like quality it exhibits. It makes me think of those old iron fences that can be found around houses in the Midwest. This illustration also makes me think of black and white films from the 20th century, like The Grapes of Wrath, and To Kill a Mockingbird.
Some films from the earlier decades of the 20th century possess slightly haunted qualities—qualities that become exceedingly difficult to sense in films as they approach the present. It seems sort of ironic that I am trying to capture such a sense in my art and in the writings that accompany them in digital media, but it’s a direction I feel compelled to take, as the connection to an audience through the internet is really the only way I have of communicating my ideas.
I like the emotions that barn weathervanes evoke in me. Perhaps it’s because a large part of my family heritage is agricultural. The shadows cast by iron fences also provoke exciting possibilities that open doorways from this reality in historical settings into imaginative other worlds. Emotions, dreams, and memories, I feel, can be captured and kept alive in such patterns.
Similarities can be drawn between Islamic mosaics and Celtic knots and patterns to the simple pattern of chickenwire fence lines, for example, as the undulating weavings overlap and connect with one another in varying degrees of complexity. There is something about structures, boundaries, textures, fabrics, patterns, and neighboring mediums that capture and embody dreams and magic for me. Hopefully they do in this piece for you as well, and that I am sharing such experiences with you as I show you this, my latest creation.