Meditative art, for me, started with Zen art and continued with many possible branches, synergies and leaps. Before Zen art in 1958, after deciding that art is it, I was a student and a searcher. In the late 1950s, first came Zen as found in Suzuki and the SF Zen Center. That led to painting as described in literature and shown in publications such as Zen in the Art of Archery. That inspired doing copies of originals I liked. Which led to doing my own paintings as I explained in a talk. I rooted in ink painting as described in Section 2 of my MFA thesis and as expressed in the Minnesota ink paintings.
In 1961, working in stained glass was in many ways the opposite of Zen painting. A brittle dangerous expensive material vs simple cheap ink, brush, and paper. Brilliant color vs. black and white washes. Physical architectural installation vs. portable easily stored scrolls. Hard edges vs. soft. Lengthy indirect process vs. spontaneous flourish. West vs. east. I loved them both.
In NY (1962) ink paintings became personal journaling, facing social realities and losing detachment. Color crept in sketches for oil paintings. See moon vs. streetlight.
In SF (1966) threads gathered momentum for Wholeo dome, inspired by Stained Glass Lib. Ink painting continued.
In Staten Island (1968) see a scroll.
In Monte Rio (1972) see top of page.
In Silicon Valley (1983) ink painting transformed in Zen and the Art of Dividing by Zero in HyperCard, inspired by Mac Calligraphy. A pressure-sensitive pen on a digital tablet replaced ink, stone, and paper.
In Florida (2002) I continued web art and video such as Outer Solstice 2017.
Whereever the location or whatever style of expression, the basics remain, a simple way to output what is in, on, around, and beyond the mind.
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