top of page

Volumetric Fluid Bodies

( A series of paintings depicting the alchemical mix of Nietzsche's Apollonian and Dionysian)




In 1947 Jackson Pollack developed the ultimate in abstract expressionism, called the drip method, he poured, splashed and dribbled paint on canvases that were on the floor as he swung the paint from above. This to many was the ultimate insult to painting and the end of any Apollonian content in his art. While some critics reacted with disgust, many were more than favorable and an article in Life magazine solidified Pollack's meteoric rise in the art world, with these paintings selling for higher and higher prices.

While the work may have represented many things, the abandonment of any convention or classical aspect of art or beauty, molecular or atomic structure they leave a lasting impression, on yours truly included. For most of my adult life I have always regarded Pollack as a nobody with little or no talent. What I had missed is that his work represents the ultimate in Dionysian abandonism...and at least in my mind, lacks any hint of Apollinian beauty or aesthetics, which makes it no more than indigestion for me and many others. 

In my latest series of paintings presented here, for the first time I will be combining the Dionysian orgy of paint with the Apollinian female form to present a new look at not only what Pollack should have been doing, but a better description of what Salvador Dali was trying to depict in his Nuclear Mystical period. 

Much of my work has tried to delve into the fluid nature of our bodies and life. Here I have meticulously painted every drip, every fluid extension of self, every ecstasy of form, with brush in hand. No splashes, no drips, no bullshit. 

Here is the combination of both Dionysian and Apollinian beauty, in fluid form, abstract and realist, for your eyes and thought.





Jackson Pollack's Dionysian interpretations of art



"The Dual Genius of Fluid Motion" was painted to meld the two different worlds of beauty, that of chaos (Dionysian) and classical beauty (Appolinian). To bring forth in the chaotic world of fluid motion, the concept of the beauty of flow...and more directly, the beauty of flow in the female form. Certainly, nearly every human has witnessed and taken wonder at the flow of the female and human form, in ballet, dances of every kind, and in the act of everyday life. Fact is, observed closely enough, and with proper intent, the fluidity of motion can be observed in the slightest of motions, and especially in the wonders of the female form. In this painting, I have tried to give the viewer insight into this phenomena. Commonly mistaken simply for mystique or sexual attraction, here is the microfluidic motion that occurs just beyond the five senses at every moment, of every day, in every human being.

In "Unity", the second of this fluid and volumetric series, I have made an attempt to share with the viewer to go beyond the fluid nature of solids (in this case the human body, 60% water by volume) and add the fluidity and dissipation of thought. 

The image hopefully also allows the viewer to better contemplate the dichotomy of unity, or oneness. While each individual is complete and one to themselves, the nature of our fluidity, the fact that there is space between our molecules makes all of us a part of each other, where unity becomes the collective one as opposed to the individual. Unity shows how our thoughts, dreams and aspirations can intermingle, and affect one another. How our individuality, is part of the collective. How our sense of "one" is strewn with the sinue of gas, fluid, electrons and other elements normally not seen that form the geometry of our thought and life.

"The Essence" started as a volumetric rendering like the first two paintings in this series. It was slated to depict the same sinew and fluid embodiment as "Dual Genius" and "Unity". But passing a long-forgotten cut stump every day as I took out the garbage, covered in moss started to take over my thought process. Turning the fluid sinew into rotting wood and root systems was the first challenge and filling the recesses in with moss the second. Transforming in what was before a depiction of the fluidity of nuclear mysticism into biological exuberance. 

In the two previous paintings in this series, the fluidity of the sinew depicted the space between atoms and the flow of matter that all started with Dali's rhinoceros horns and molecular models. Here the Stone and rotting wood become the vehicle of growth for a large number of mosses, plants and fungi. Their intertwined roots and passage of water channels become the neural channels of the image. 

The Essence is a highly evolved and complex scene, yet pure and simple. It is the essence of life, femininity, the forest, our connectedness, and so much more. It is the Essence of whatever your mind conjures.

This series of paintings has its roots in studies resulting from volumetric Arnold Renders performed in Cinema 4D based on work done by the amazing Lee Griggs, my thanks to him for his pioneering efforts




bottom of page