Cabbalah
176 creative works found
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Photons are both particles and waves. With light came time and the necessity for multi-dimensional space. Photons bridge the divide between an infinitude of nothingness and an infinitessimally small something. Bursting forth from the singlarity of a point source the photon’s discreteness splays out in all directions, first one dimensionally, then two-dimensionally, then three, reaching out to all four quarters of space in its race to be everywhere in one timeless moment only known to itself.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the third image of group 24. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the first image of group 24. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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Every end ends with a beginning. Every beginning begins with an end.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the first image of group 20. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying “the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the third image of group 14. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying “the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the fifth image of group 5. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the second image of group 11. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the fifth image of group 13. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the second image of group 19. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the fourth image of group 19. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the fifth image of group 19. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the fourth image of group 23. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the fifth image of group 23. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the second image of group 24. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the fourth image of group 24. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the fifth image of group 24. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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This is from a larger work called ‘Forbidden Fruit’ comprising 25 groups of 5 images. This is the fifth image of group 25. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. Whilst the content is clearly non-figurative and geometrically derived there is a genuine message to the work. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. In the final analysis it’s just a work of art.
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The two-dimensional gives way to the three-dimensional, much as the surface of the ocean is not illusory but can act as a material force in its own right. An infinitissimally small three-dimensional something exists in a timeless moment. Provide an infinitude of such moments and the three-dimensional reality will enter the fourth dimension of time.
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In silence presence stirs.
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Book 0, Chapter 0 / Verses: 004 – void (void (solid ) ) ) / 003 – void (void (plane ) ) ) / 002 – void (void (line ) ) ) / 001 – void (void (point ) ) ) / 000 – void (void (void ) ) ) / / This is part of a larger work called ‘Forbidden Fruit’ comprising 5 books, each comprised of 5 chapters, 5 verses to every chapter, each verse a discrete moment within a continuum of 125 images, individually numbered from 000 to 444 in root 5. I am either exposing to conscious inspection the archtypical patterns underlying ‘the meaning of life, the universe and everything’ or I’m “completely off my head”. Think of a dimensionless point and the thought itself is already more tangible than the existance of the point itself. So let this state of nothingness equal zero and give it the co-ordinate 000. Now multiply this void by infinity and the miraculous result is the number 1, what high school maths teachers call a dimensionless point that really does exist. Multiply this infinity of nothingness by infinity once again and the result is 2, two dimensional points, a line of infinite length and anywhere between but of no thickness or breadth. I’m sure you get the drift with regards the progression on to numbers 3 and 4. Dimensional increase is the infinite multiplication of nothingness. Co-ordinate 444, the last image, shows the dimensionless point leaving three-dimensional reality as it reaches for the unseen drawing numbered 1000, in root 5, a dimensionless point manifesting in the temporal realm, if only for one brief instant. The creative process begins with felt tip pen drawings on graph paper. These are then scanned into photoshop and digitally manipulated to create the effect of photographed installations. I’ve posted these up on RedBubble in order to be rid of it. In the final analysis it’s just a work of art and I need to get back to my maths.
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