Upon graduation from the MICA, I was given a present of a trip to Ireland – the land of my ancestry. Among the sites visited was a Neolithic Barrow Passage site called Newgrange, north of Dublin. I was one of the last to leave the inner chamber, as I came back out of the passage the lights inexplicably went out. This event afforded me a view of some of the stone carvings as they were intended to be seen by a privileged few – in a natural, raking light. Upon emerging into the morning light I realized that I would use the carvings in my work somehow – I didn’t know how, but that I would. I placed them on the “back burner” for many years. Thirty years later, I revisited the site with the hope of finding a key that would afford me an understanding of how I might incorporate these carvings into my own work. Several months after my return, I had what I can only describe as a true epiphany: a vision of how to proceed with this project– both aesthetically and technically. I was shown the completed work in a way that allowed me to see how to do it and what materials to use. Having the concept presented to me in this way engendered an intense, consuming passion within me, which I would need for there was no resemblance to my established body of work. The level of excitement and energy grew as I examined the project as it was presented to me, for it was truly divergent from my body of work up to that moment. Meanings of the carvings are emerging for me as I continue the project. Theories of “Multiversism” as studied in other early cultures – Sanskrit and ancient Chinese writings document these theories – seem to parallel my own thoughts and are part of what inspire the pre-Celtic and Celtic carvings, and thus, this new series of paintings.

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