The painting fragments, segments, divides, and partitions reality. There is a painting within a painting. The color scheme of the interior image (the dream?) is warm; its background landscape is cool blues, greens, and greys. The hawk seems to exist simultaneously in multiple realms, inside the dream and outside of it. The viewer sees through partitions and their view of what appears to be the English landscape.

Result #1

The painting fragments, segments, divides, and partitions reality. There is a painting within a painting. The color scheme of the interior image (the dream?) is warm; its background landscape is cool blues, greens, and greys. The hawk seems to exist simultaneously in multiple realms, inside the dream and outside of it. The viewer sees through partitions and their view of what appears to be the English landscape. In an earlier painting, the eagle forms a cloud and a silhouette of a bird appears. The image is divided into gray-blue and blue-green sections. The white of the paintings black frame has been ripped away from the whites and the color has been applied to the surface. An English landscape is a brilliant, blue-green sky and a series of indistinct rivers in the background. This painting is about the fantasy of distance, of eternity, of realism, and of the sky above the earth. The painting becomes a realm of transparent surfaces with a vividly luminous sky. The painting fragments reality, separating it from itself, between the two realms of land and sky. It shows the limit of reality, the extreme limit of reality. The sky is black, grey, blue, and white; the ground is gray. In a second painting, the eagle is divided into a triangular array of seven broad, uninterrupted strokes, all blue and grey and blue-green. The birds wings are broad, like those of a big, beautiful bird. The birds wings, or lack thereof, are the visual clue to the painting. This painting is about the intensity of color, about the harmony of the sky, the beautiful balance. The painting contains a sense of the infinite, of time that exceeds reality. In this painting, reality is the gift of the Gods, the gift of time. These paintings are about the world of the Gods, but also about the world of Man, and the world of the human being, from whom it is, most of all, an eternal gift. Here, too, it is not the nature of the human being that is the subject, but the human being that is the subject.This painting is about the reality of Man, of the human being that is the subject, not of Man, but of the world. The world is the subject of Man, of Man, of the world.

Result #2

The painting fragments, segments, divides, and partitions reality. There is a painting within a painting. The color scheme of the interior image (the dream?) is warm; its background landscape is cool blues, greens, and greys. The hawk seems to exist simultaneously in multiple realms, inside the dream and outside of it. The viewer sees through partitions and their view of what appears to be the English landscape. The birds movements are not realistic. The wind and sky are dynamic. The birds are seen through the partition into separate worlds. One world, two worlds, three worlds. But still, the dream is real.When his paintings were first shown, he was in the midst of his decade-long quest to open up the world of art, to put the artworks in context with the real world. In the present moment, he is saying, the dream is real. His point is that the dream is that of the work of art, of art that represents the world of reality. Thus, the artist is the one who is most capable of painting with the world. This is the very idea of painting, to expose the world, of painting with a reality that can be seen and understood. This is what painting reveals, not only in the representation of the world, but also in its form. This is what gives it meaning. Then there are the paintings: representations that confirm the reality of the world, and yet still have a mystery. In this case, the mystery is the reality of painting itself: the mystery of its form and the mystery of its formlessness.As surreal as the images, these paintings show the world only partially, and, in a sense, nothing is added to them. All that is seen is what the artists form reveals, the formlessness of its form. The forms that compose these paintings are representative, and not in a formal sense, but rather in a more abstract sense. This is what is hidden, and why we are so fascinated by the paintings. We have seen all kinds of forms in Art, but never a form that does not consist in the appearance of formlessness, of formlessness which is a more mysterious reality than anything else. The more we understand these paintings, the more we understand what these paintings have to do with the world of art.

Result #3

The painting fragments, segments, divides, and partitions reality. There is a painting within a painting. The color scheme of the interior image (the dream?) is warm; its background landscape is cool blues, greens, and greys. The hawk seems to exist simultaneously in multiple realms, inside the dream and outside of it. The viewer sees through partitions and their view of what appears to be the English landscape. A painting within a painting has its own color, but not a color that one would associate with the outer world. If you look at the painting from within, youre blinded, so to speak, but if you look from outside, youre not. As in the paintings, the interior, the dream, and the exterior are essentially the same thing, not only visually but also a psychological reality.If the viewer is not blinded, he or she must constantly be aware of the false nature of reality and of the illusion that he or she may be working with. Indeed, the art object and the artist object are about the same; the works communicate not only what the artist thinks but what the artist thinks about the art object. Hence, the works have a visual character, one of feeling, something like painters say that they feel. The works are very matter-of-fact. We can see them as frames. A painting, therefore, is not a painting, and the viewer must not be an instrument of the imagination but of the mind. In the painting, perception is a problem: sight is illusion and perception is a way of seeing. To see from a distance is to have no sense of distance, but to feel from afar that we are part of a vast, expansive world of things, of shapes, of images. This is the reason for all painting: to make us feel. Two works on linen, each titled I am aware of the fact that you are here, further clarify this statement. The painting consists of two photographs, one of an old lady seated on a chair and the other of a young girl in a park. The old lady, she has one hand on her head and the other behind her, looks to be sitting on the chair but seems to be missing her right eye. The girl, her right eye missing, has a long, wavy hair.

Result #4

The painting fragments, segments, divides, and partitions reality. There is a painting within a painting. The color scheme of the interior image (the dream?) is warm; its background landscape is cool blues, greens, and greys. The hawk seems to exist simultaneously in multiple realms, inside the dream and outside of it. The viewer sees through partitions and their view of what appears to be the English landscape. There are fragments of the last picture and of the whole, like a fragmented view of a film. Thus, the viewer is a part of the painting, a part of the final picture, with a part missing. In this way, the final picture itself is a fragment of the beginning, the painting. There is no middle, but rather a break with reality, a passing moment of heightened awareness. The viewer is seen as part of the painting, and part of the fragment.The painting world seems to be losing itself in an eternal flux, falling apart in a great labyrinth. This is the chaos of the contemporary world, the meaninglessness of modernity. Here, reality has no past; it does not contain the past, but it is constantly on the move. The present is a chaotic and disintegrating phenomenon, but there is no chance of progress; the world has no time. The painting world is fragmented, a world of shifting states, of eternal cycles, of divining stars. This is the endless task of the spirit. In this scene, the eye cannot focus on anything but on a single point: the sky, the horizon, the ground, the sky above. The mind is focused on this point and only on it, focusing on the landscape in the final picture. The canvas remains static and unmoved, and the mind is quiet, seemingly at rest. The image is a symbol, a place to rest, to rest in, for the spirit must seize it with its own strength, like the sky. The painter is not only an instrument with a limited power, but the imagination is a vivid, multifarious creation. The painting is a creative refuge, a place to retreat to, to rest in. In the Middle Ages, the sky was considered a sacred domain. In modern times, the sky was the most sacred domain, but now it is lost in a chaotic and stormy sea.

Result #5

The painting fragments, segments, divides, and partitions reality. There is a painting within a painting. The color scheme of the interior image (the dream?) is warm; its background landscape is cool blues, greens, and greys. The hawk seems to exist simultaneously in multiple realms, inside the dream and outside of it. The viewer sees through partitions and their view of what appears to be the English landscape. In the painting, the artist creates a false ground through which to project images.  The ultimate result is an illusionistic universe. The bird is a bird inside an illusion. The house is a house within an illusion. It is the artist who is an illusionist, a naturalist. The disordered reality of this painting is the artist who creates the illusion. The real reality of reality is the artist who realises reality. The artist sees reality and fiction, imagines reality and sees reality. In this painting reality is constructed by an artist who creates an illusion. Yet the paintings own reality, the reality of reality, is built by the artist. It is an illusion, made up of parts, whose meaning is not entirely clear. It is a dream, a phenomenon whose structure is not fully known. We never understand reality, they write. But, it is clear: it is the structure of art that the artist creates. The avant-garde architecture was founded on this illusion. The dream architecture is the architecture of the artist. It is the architecture of the natural world. This is the architecture of art, the architecture of the dream. This is the architecture that the artist has dream architecture. In fact, the avant-garde architecture is the architecture of the modern world. We are all architects now.The avant-garde architecture is the architecture of art. We are all architects. It is an illusion. The structures that the artist creates are constructed with this illusion. This is the architecture of art. So, we know that the avant-garde architecture is an illusion. We do not know the structure of the real world, and architecture and dream architecture are both illusions, illusions with a fake structure. The architecture of the avant-garde is based on this illusion. So, we know that the architecture of the modern world is a dream.