In 1971, in my small room in Cambridge, I took a landmark LSD journey that lifted the veil and opened my eyes to secret writing flowing in ribbons through the air and washing over all surfaces. There were infinite characters and their meaning was the "Nameless Presence" articulating a higher consciousness sent from "Realms of the Unpronounceable."
Secretly, the writing became the theme of a private body of artwork. Shared at one of our first meetings, it was Alex that recognized the potential source of creative significance in this enigmatic language. Previously, my labor intensive mixed media installations addressed content of personal angst and psychological states of mind. Alex's insight shifted my focus. One year later, my Masters thesis at Tufts University and my Fifth Year Review Board at the School of the Museum of Fine Arts, Boston dominated in drawings, prints and body-art documentation devoted to Secret Writing. Psychedelics being an entirely taboo subject in 1976, my written thesis contains no mention of the psychedelic origins of Secret Writing.
The symbol system in my paintings represent a world view comprised of chaos, order and secret writing. Tens of thousands of labor intensively painted spectral squares reveal paradoxes of particles and waves, cells and systems, entropy and inter-reflectivity, meaning and the ineffable.My paintings express an essentialized world view comprised of an invented symbol system corresponding to concepts of chaos, order and secret writing.