Paintings – Synthesis

About Synthesis:

Completed: Approximately December 2025
Medium: Acrylic on canvas
Finishing Products Used: Golden Isolation Coat + ~3 coats of Golden MSA Gloss varnish w/UVLS
Measurements (frame + painting): 26 x 21.5 in. / 66.04 x 54.61 cm
Frame notes: White Pine Base / Acrylic + Polycrylic finish (for durability)/ Wire hanger on back / Shiny brass oxidized info plate
Price: Not presently for sale

This painting is the result of my love for both the sharp, angular exactness of modern circuit design and the eerie mystical/natural iconography of Pre-Columbian America. I wanted to depict the fusion of natural with artificial, of hazy with precise, of lore with data. Another design intention was to gesture towards and imply, although not fully mirror, popular depictions of spells, summoning circles, alchemical symbols, sigils, sacred geometry, hieroglyphs, runes, and the Aztec sun stone. You could call it a depiction of the singularity – although I intentionally made the presentation and palette somewhat foreboding as a nod to the capricious, double-edged sword that is technology and man’s relationship with it.

In a very real way, we are now casting “spells” with electrons and silicon – and considering the underlying construction of our technology, from wiring diagrams to actual circuit boards to sprawling libraries of code, can trigger the primal human fear of the unknown. As with occult iconography, there is a complex design and intent communicated by our technology’s building blocks, and fully comprehending all of those meanings (especially if you’re taking a “full stack” view, as some engineers might describe it, taking into account ALL the physics, components, and systems) is not only difficult, but sometimes intimidating, scary, or awe-inspiring. After looking over a choice snippet of FORTRAN 77 or assembly code, I would forgive anybody for thinking it might be meant to summon a demon.

I initially wanted a solid yellow frame, but my suppliers were unable to make it happen for me – so I did the next best thing, and chose a lighter-toned wood as my base, and simply used the frame as an extension of the painting, wrapping the details all the way around in a manner similar to Green Ghoulie.