Take a journey with suspended expectations and definitions.

Vistas, both new and familiar, take on magical properties. Cosmic forces play their game of balance on a black and white game grid. A magician's music reveals older worlds within the walls of the labyrinth. Giant roadside faith magnet shatters, releasing dynamic expressions of energetic creation.

This is how we see the world in a new light.

Learning Curve

“This piece was originally called visitor and I’m not even sure why I retitled it to Learning Curve, but now I think its appropriate because this piece was a big acceleration in my learning curve as an animator, and now that it has been sampled into “Adventure” and I’ve recently added the cartoon heads to the chess-players, it continues to be a project on which I’m learning. Or mabe I was high when I retitled it.

“Anyway, I decided to make a whole piece with just my digital still camera (I have gotten a lot of mileage outta that thing!). I flew back to NYC to visit and shot chipfull after chipfull, loading them into the laptop as I went. The craft of sequencing photos has gotten easier in the past few years with features in the software. I think its become one of the easiest things in the world to set up now, and so I have more and more fun in the details of each frame.

“The music is, I think, the first official track by Salvador Dalek, the combo moniker for colaborative works by Eric Scott and myself.

“...In '91, I think, I took a few classes at School of Visual Arts in NYC. One of the classes I loved the most was called "drawing on location" with an awesome teacher / artist named John Ruggieri. John was a wizard with line; he'd put the pencil or pen on the page and you could see the total connection from his eye to his hand as he'd trace a scene with his eyes steadily smoothly tracking the contours of buildings and people while at his fingertips a bold and elegant line would describe the same path. Amazing and inspiring to watch. The class was fun and the single "lesson" I am learning from it still is to develop the pathways connecting your eyes and your hands because it produces great drawings, its fun, and it brings the universe to a rest...


“The same lesson each time I drew with john warwicker at the tomato workshops. Their drawings could look more different; John R's lines are bold and dark and infused with an immediacy of energy, his technique is fast and focused...American Zen. John W draws with super hard pencils and an ultralight touch... his movements are slow, deliberate, keenly focused on the tiniest details of the movement of leaves in a tree, or reflections on the surface of water... barely visible even up close, contour maps of motion, tracings of quantum level fluctuations... his is a more eastern looking zen.

“When I participated in John R's classes when I was 21, I thought that my practice at drawing the "way" in which he drew would be a process of emulating a style which seemed very commercially applicable... I could make money!

“By the time I got to tokyo in 2000, I knew that the processes of observing and listening to what they focus on mentally as they draw, and emulating their postures to achieve similar "results" was really about achieving similar "states". Though the skills I long refused to recognise were widening in scope and deepening in adeptness and adaptability, these had no connection to my ability to create an abundance of money. You can draw in beautifully expressive dynamic ranges of styles as soon as you already know you can, and the same applies to creating anything else, including material abundance or, even better, experiential abundance. In my current perceptions of my past, I formerly believed that I needed "commercially applicable drawing skills" in order to be able to "live as an artist". such a focus took my attention away from the joy i've been experiencing creating since my earliest memories, and the more i've released such focus and reconnected with the myriad joys of creation (the whole spectrum of drawing zens, the mellow joys and wild thrills of shaping sound and music, the presence, the fluidity, the ecstacy of dance, the surprises and laughter and total connection of collaboration), the easier it is for any and all of us to learn fun new ways of playing. forget about the product for a while and enjoy the process.

“Which brings me back to: the process of making "learning curve"...

“My whole point in making it was to make something. thats it. I wanted to make something with no budget whatsoever, because I knew that I could and because I wanted to enjoy the fun of being resourceful and making it up as I went along. and because I had created myself as having no budget whatsoever.

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