21″ x 14″ Seated figure. Charcoal, acrylic, pastel


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21″ x 14″ Seated figure. Charcoal, acrylic, pastel


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While you are here – please check out my home page! INTRODUCTION My 9th class in ‘Produce Paintings’ and ‘Produce Drawings’ (these being subjects that are part of ‘Certificate III in Visual Arts’) progressed as per usual. I was mostly happy with my art work this week, and hopefully as time progresses, […]
9.5″ x 7.5″ watercolor, ink. The gray has an interesting effect on the colors, particularly with yellow. Here, the grays dominate, from pale wash to black. The companion hues, yellow, yellow green and orange, with a pale purple wash as compliment to the yellow, an unusual combination, the mood of the grays, dark to the cheery yellows. Kind of like my mixed emotional state. Balance, without harmony. Chromatic dissonance.


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Shining through the cracks 6″ x 8″ Ink and watercolor


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Stefan Rossbach has a wonderful chapter in Observing International Relations: Niklas Luhmann and World Politics, edited by Mathias Albert & Lena Hilkermeir, 2004. The essay is titled “‘Corpus mysticum’: Niklas Luhmann’s Evocation of World Society.”
Rossbach, in discussing Luhmann’s links to early mystics and Gnosticism, has helped me realize why (despite the difficult, often dry reading) I felt an immediate affinity for Luhmannian theory. Back in the early 1980s, I was reading things like the Meister Eckhart, The Cloud of Unknowing, and St John of the Cross, as well as Zen Buddhism and other Eastern mysticisms. As a 20-year-old, I found St. John of the Cross‘s negative theology, or via negativa, particularly fascinating.
Rossbach links Luhmann to mystics such as Jakob Boehme and Nicholas of Cusa. Here is one passage from Rossbach’s essay:
Contemplating the history of Western philosophy, Luhmann noted that 2,000 years of searching for “essence” had…
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9″ x 11″ Pen and ink, watercolor

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5.5″ x 6″ Watercolor, metalpoint silver & gold) ink. I posted this earlier, but it need more work.


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