“Still Life With Weapons” is an existential play on the dynamics of human consciousness and the parallel universe, parallel dimension, alternate realty or multiverse. This phenomenon for which some consider a theory and other’s a fact is essentially the understanding that there can be an infinite set of existences happening simultaneously at any given moment. It is the frequency of our consciousness that tunes us to the reality we are experiencing. Therefore all the manifestation practices from ancient to contemporary emphasize a practice of self tuning to the reality which one desires.

“Still Life With Weapons” is an installation of 6 large scale artworks installed at The Hermitage Museum in Saint Petersburg, Russia playing on multiverse technology. The works represent a juxtaposition between beauty as depicted by the art of the 17th century with the sculptural and material dynamics of modern weaponry. The viewer can experiences multiple thematic view points on the parallels with war and peace, aesthetics of composition and geographic dynamics of nation and culture with the contemporary crisis of conflictscurrently happening around the world in 2023. For the first time in history we are seeing the dynamics of the population voice their resistance to violence as a solution and utilizing technology based communication systems to influence the outcome of events just as the laws of the manifestable multiverse propose. How the narrative will play out with the current circumstances is yet to be seen or is it?

“When I reflect on what “Still Life With Weapons” is, I think it is important for the viewer to understand the artist process that created it. First, when I refer to myself as the artist, the creator, I am referencing a shamanic dynamic of exploration. This refers to a dimension beyond the technical aspects of craftsmanship, art tool awareness, skill, knowledge, belief systems, ideologies, etc. The root process for which this series of work was created involved a “meditative action” meaning a practiced method of surrendering the system of thought, the guidance of the intellect, totally and completely. A falling into what can be described as the unknown for which we can say this vastness is the totality of the artist in fullness and completeness. It is expressed as the unknown because it exists outside the boundaries of the known, the intellect. This is why the process is described as shamanic, as such a journey of this regard was traditionally the practice of the shaman. This is important to understand because the artwork created did not come from a narrative, a pre meditated idea, a construct of concepts that were worked thru undeveloped into a visual format. No, in fact. these works were fished from the depth of oceanic deep sea diving, you can say metaphorically. Then once returned with these sunken treasures, it can be a time to unpack what they are.

So as I write these words now, it is some time after the art was completed, many months in fact. To recognize what can be observed as obvious yet not premeditated. The play on aesthetic, and formation of the mind to legitimize and beautify war in such a way that it brings the pocketbook and heart of a person who would intuitively stand against such a principles, yet is now walking zombie like in full accord with such endeavors. By looking at the last 30 years and current events, we can see the dynamics of this capability upon humanity playing out with great vigor.

To place such visions of atrocity into the public mind, is done with great strategy, so fluid and seemingly simple as well to accomplish. Just as these beautiful arrangements of flowers and machine guns sit well among the sophisticated archetcure of man kinds great societal achievement. For which underneath the wool reveals an extraordinary darkness of suffering to the innocent by those who aspire to have it all.