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I no longer see anything or any situation with any confidence. I cannot help but wonder if what I see is real, who is who and what is what. It is not revisionist history; it is revi- sionist present. In my art, I am expressing my humility. My early college years were marked by a degree in physics and I continue to see reality expressed either in mathematical or philosophical terms. Chaos sur- rounds us and confusion is predictable. The visible spectrum we live in is only a tiny fraction of the full spectrum of what really is. We see deformable space, particles in two places at the same time and flowing probabilities. Alas, to be closest to reality we must let go of our precon- ceptions and false anchors. I am attracted to neither the abstract nor the figurative, but rather to the transition and confusion between the two. I find comfort in a figurative form and I am compelled to abstract it by deforming the surface. The result is a change in the pattern of colours and an altered way in which light is reflected. I leave the 2D in a deliberate step between painting and sculpture. In my work, you may see something fleetingly familiar and comfortable, and my hope is to then take that away from you. It is all tem- poral, undefined, chaotic and uncomfortable. In the frustrating discom- fort, I want you to relax and float on the turbulence of not knowing. In French “Par l’eau” means through water. Parleau is a combination of painting and sculpture—images enameled on metal foil and then formed by hand to different degrees of spatial reflective abstraction. It is a cre- ative and destructive process, which adds a random moving character to the surface. It is the surprise and randomness of the play of light that evokes the living. After 2D composition, the image is crushed, positioned and worked as if pounded in surf to evoke the third and higher dimen- sions—more successfully than the underlying figurative. Parleau evolved to simulate the essence of seeing images through the rippling surface of water. The play of light, the intensity of colour, the reflective qualities of the objects below the surface all appeal to me in a profound way. Perhaps there is a fundamental evolutionary basis for this. Life’s origins are from water, there are the tears of emotion and the glis- tening sweat of exertion which link us all in a philosophical emotional and biological way. In Parleau every image, whether realistic, figurative or abstract, is joined in a group of more poetic statements about life, and the vibrancy we feel with the animate versus the inanimate. When I look at still images, I become frustrated by their flat stillness. They all seem to miss the bio- logical breath and the glow of energy. Parleau does not permit detach- ment from life’s moist reality, but it transforms images with a multitude of surfaces that sustain immeasurable depths in pools of reflection. It is the dimensional charm of impasto’s search for the texture of the third dimen- sion carried to its logical optical conclusion. Parleau images become philosophical and dynamic, whether they are pop, painterly sceneries or abstract forms. They all become translated into the chimera of our original language—the womb, the ocean and with it the emotion of life, like the sparkle in an eye that differentiates the dull look of the artificial from the intelligent and emotion-filled aura of the living. The 3D thread exposes itself without any prior analysis or planning and is exhibited in all my art forms. My art is the result of my many years work- ing in science and physics, encompassing a career focused on 3D meas- urement devices. This is compounded by my fascination with the micro/macro philosophical conflict. The micro-repeatable quantized build- ing blocks of life and the macro-complex resultant diversity. Parleau is about realizations. I realize that when I try to control, I control less. I realize that every time I try to colour inside the lines that the colour leaks out. I realize that understanding begins by admitting I don’t under- stand. In physics, the uncertainty principal embodies this resistance to precision. The art begins formalized, boundary-delimited and planar—and then begins to quickly escape and deform and seek other dimensions. Where we are and what we are, are but probabilities; empty space con- tains energy and space is deformable by the presence of matter which is always in motion. Light, the most fundamental existential entity is modeled in packets, waves and spinning electric field vectors pumping their way through space. The seeming trajectories are really the probabilistic combinations of all possible wave paths and their phases. There are no single light rays only resultant phase combinations of probabilities of all possible paths in the entire universe. Change your point-of-view or change your surroundings and the images in Parleau evolve, add and subtract colour spontaneously and form with your context and mood. The scintillating pools of glare are upsetting and aggravating. Our brain tries to stop the motion and seeks the image but it remains frustrated and the image is never fully-absorbed. Like life, identi- fiable, familiar yet never fully understood. In my world, I am just a bit player; I organize a few shapes and colours and then along the path of least action it is the statistics of all possible combinations, which takes control. Parleau lets the probabilities of the sculpted surface and the play of light control the perception and the emo- tion of this moment’s reality.