I envision the red-checkered cloth serving a backdrop purpose much like an inviting Paleolithic cave wall surface served ancient narrative purpose. The figurative hand print characters, columnarized at left, are discoverable throughout the sequenced panels, sized and 'costumed' differently, but each maintaining an identity of individual form. Much like grammatical morphemes are used to structure words for literary function, these actors are used to structure tableaus for allegorical function. Like any language, the meanings of each symbol take on new dimensions when juxtaposed with others. As I animate these symbols within my myth making, they may cannibalize, synthesize, or fornicate with each other to bring to mind new generations of thought. The characters do pose creative challenges due to my strict adherence to their cardinal forms, and necessitate visual ingenuity in order to expressionistically posit answers to metaphysical riddles.
Succinctly, by creating this contemporary form of Paleolithic painting, I use a language of hand characters and symbols to present a story, putting personal philosophical query into an allegorical form, creating a picture book of, and for, sense making. Consider the opened book as being to symbiotic haves, two hemispheres of Mind; the left side expressing archetypical aspects of premonition, the right expressing a more planned, perceptive and deductive construct of mysticism made manifest. This duality of context, this visual actualization of the proverbial right-brain/left-brain functionalities offers a lateralization of meaning, allowing for a more introspective and contemplative study by a reader who deliberately pages back and forth through the book to sync the complex layering of meanings within the multiple artworks sequenced to singular summation.