P r o m e t h e u s, 1992, acrylic on canvas, 48" x 72"
T r i k a y a, 1992, acrylic on canvas, 48" x 72"
I c a r u s—redefined, 1988, acrylic on canvas, 48" x 60"
B l a c k B u t t e r f l y II, 2001, acrylic on paper, 28.5" x 43"
Of An Ancient Civilization, 1987, acrylic on canvas, 48" x 72"
Portrait of Lewis Thompson
2005, acrylic on paper, 22.5" x 30"
The text above his head, taken from his journal entry dated 22.VI.49, reads as follows:
The discipline of fidelity to the non-mental in poetry—mastery of all tendency to substitute, elaborate, concoct, continue with the mind—deepening the non-mental ‘sensation’, state or image, the usual starting point of a poem, vertically into the trans-mental—‘pure poetry’; psychic and intellectual concentration, and the formal resources of the mind, entirely serving this possibility and subsumed in its working out. Then each poem must become an extremely conscious ‘samadhi’, an exploration, with the fullest means available, of the true Moment.
And this discipline is for an immediate and congenial means of beginning to ‘go beyond the mind”—of attaining and establishing a purely transmental vision and speech.
R E L A X A T I O N
Relaxation in Green #3
2003, acrylic on paper, 18" x 18"
The face is stylized, like a mask. The effect is very powerful, indescribably special: something normally remote, mysterious, secret, inaccessible, prepotent, has been concretised, and it changes the value of everything, provides an inescapable focus."
––Lewis Thompson: The Journals of Lewis L. Thompson 1945-1949
Light Riddle, 1998, acrylic on paper, 22 1/2" x 30"
The Blue Nun, 1973, oil on canvas, 24" x 30"
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