Letter in Response to Robert Genn’s Newsletter editorial: Leonard Cohen

Always, the exploration of art leads inward to an exploration of self. The interaction of the exterior field of action, technique and externalizing vision makes the “statement” of perceived reality. The magic of art is that it is not discrete. It contains so many elements that the artist who gets very quiet at the centre, comes to see. Music, dance, kinesthetics and aesthetics do, indeed, become one form.
The process of creating visual art has been a path of self-discovery. One can liken it almost to archeology or the uncovering of the bones of self with brushes. Removing that which one does not identify as part of the central form leaves a true definition.
It is with this “archeological exploration” in mind that I suddenly had an epiphany. My work has always had a movement across the surface and a shifting of planes. Movement transforms the background, mid ground and foreground as they exchange dominance on different areas of the canvas.
I assumed that this was from my history as a dancer and choreographer. However, when someone asked me, “How do you get these vision?” I found myself understanding. “When I was very young, I began to see visions of colored shapes dancing whenever I heard music. Now, as a sixty year old, I have been able to reproduce the synergy of art, music, dance that I saw behind my eyes all of my life.”
Not unlike the process itself, I discovered the answer to what drives my work by turning off the rational mind and simply answering the question.
As in physics, all forms partake of all other forms. The flow of language, the clarity of visual impressions, the dynamics of music are all one. It is only someone who cannot “speak” the language of another manifestation of aesthetic, who places one form above others. They are all the soul’s work.