The minerals, vegetable and animal all take part in art. Art is not some practice or specialization confined to human work. Art is that thing that the objects of this world do as they participate in magic. This magic is the aesthetic,  causal dimension. Everything is sensitive.   What I am calling magical is the condition of the event where forms emerge. The artist is an alchemist organizing living matter into magic things. The artist can do this because matter is already magical.

I do not  need to describe or represent nature: it is enough to include the scope of
material and natural elements and allow such things to present themselves. To this some may add that I am merely describing ‘blind nature,’ but nature is not blind: it is vibrating and alive. The artist mixes into the environment in order to recognize the marvels of natural elements, which is to say, the marvels of those things that are active and possess their own agencies.  What is contacted there is not re-elaborated: I do not turn the elements into a representation of a scene, instead I draw upon the substances of these natural objects and events. I want the art of the world to come through in my work unimpeded by my own biases. The growth of plants, the ebb of rivers, the chemical or fluid reaction of minerals, the snow, the grasses and fields: all things of the landbase are allowed to speak for themselves in order that the artist may live in the magic organization of living

There is a continuous ossification of matter. This field is animated and therefore continually living. The art, like thought, wants to know about this – whether one is alive or dead – and just as thought knows it is alive it seems to have no meaning. One does not ask what the meaning of a landslide is: it is a process and that is it.

To allow the minerals to speak for themselves in painting, for example, I step back from the role of controller of the field (i.e. the “painter as engineer of form”) in order to allow matter to do its own thing, and in this way I have not reduced reality to a fantasy, nor art to intellectual judgements. As a steward of forms such as one would be a steward of nature, I coax living matter towards its own magical emergence. I am not imparting my accumulated knowledge to the field, instead I allow the reality of the changing physical presence itself become an image. The totality of the field is filled with ossified sensations. What emerges is living matter’s manifestation of itself. Therein resides painting at the threshold of liberty.

I want a spontaneous tension that expresses the elements of nature (of minerals, chemical reactions, heat, animals, vegetables land, sea, snow, etc.). In order to be involved with what is happening the I must in some sense act upon the quality of the work, invoking the emergence of integrity in the piece, but this does not mean that I define the outcomes. Setting up the means of the work to unfold and defining the outcomes at the origin are two different things. Involvement situates itself as follows: to set up the parameters for the work that unfolds by allowing one the freedom to let go of the need to impose upon the world of form. The immanence of the forms themselves are magical. Nature Magic is the art of the living matter.

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