And thats as far as i got

Baselayer 100cm x 160cm Series 2

The universe itself arises from consciousness. Everything that exists is first a thought within the “Universal Mind.” By extension, the human mind being part of this universal mind has the capacity to shape reality through imagination, visualization, and directed thought.

the artist reaches a moment when the familiar framework of subject and object dissolves. No longer is there a mind trying to shape a universe, nor a universe standing apart, waiting to be shaped. Instead, the two collapse into one seamless field. The seeker realizes that the thinker and the world are not separate; both arise within the same current of awareness. In this state, consciousness reveals itself not as something possessed, but as the ground of being itself timeless, boundless, and indivisible. What once appeared as two self and world, inner and outer is revealed as a single field nonduality.

“As above, so below; as below, so above.” This suggests that inner states (thoughts, images, emotions) reflect outwardly in the physical world, and vice versa. The mental realm and the material realm are interwoven, so images in the mind can manifest in the outer universe. This painting above called baselayer represents base reality, understood as the ‘original,’ non-simulated universe: the fundamental physical reality in which no higher-order simulation is operative. The physical universe operates on mathematical principles, leading some to argue it’s akin to a computational program. The uncanny precision of these laws fuels the simulation hypothesis.

From the perspective of base reality the fundamental, non-simulated universe we may be understood as emerging from pure data, electricity, and elemental forces not yet comprehensible in human terms. In Hermetic philosophy, this essence corresponds to the subtle, formative energies that precede material existence. Compressed into a condensed state, this primordial information descends into embodiment, transmitted as what we call the soul within the human body. In the painting, one can perceive the soul traveling through the alligator head, a symbolic threshold where primal instinct and ancient memory give shape to the subtle formation of the ego structure. This process reflects the Hermetic axiom as above, so below: just as higher realities compress into the human form, so too does the soul’s journey pass through archetypal gates that mediate between spirit and matter, laying the foundation for human individuality.

This painting represents base reality, understood as the fundamental, non-simulated universe the original layer of existence in which no higher-order simulation is operative. Within this framework, the human being is envisioned as emerging from pure data, electricity, and elemental forces beyond human comprehension. In alignment with Hermetic philosophy, this primordial essence corresponds to subtle formative energies that precede material manifestation. Compressed into a condensed state, the essence descends into embodiment, transmitted as the soul within the human body. In the composition, the soul is depicted as traveling through the head of an alligator, a symbolic threshold through which primal instinct and archaic memory shape the emergence of the ego structure. This imagery resonates with the Hermetic maxim as above, so below, suggesting that the soul’s passage through archetypal gates mediates between spirit and matter, establishing the foundations of human individuality.

The figure represented in this painting first emerged in New Orleans, following an encounter with the Black Mardi Gras Indians. While residing in the Ninth Ward, I was profoundly influenced by the surrounding plant life and the city’s unique cultural landscape a dynamic confluence of traditions, histories, and ancestral memory. From this environment arose the initial vision of the bird-like being, conceived as an entity that subsists as pure information within the base layer, the fundamental stratum of reality from which all subsequent forms and appearances are derived. Within such a framework, the figure may be understood as a mediator from this substratum, bearing an informational essence that precedes material embodiment. This interpretation resonates with theoretical perspectives that regard consciousness as a form of metaprogramming system, capable of interacting with dimensions of reality beyond the scope of ordinary perception. The work, therefore, situates itself at the intersection of cultural memory and metaphysical inquiry, presenting a being that operates simultaneously as a product of lived history and as an expression of the informational currents underlying base reality.”

divine truth is inexhaustible, continually revealing itself in new forms according to the consciousness and capacity of the seeker/viewer. This principle resonates with the painting, where the passage of the soul through the alligator head symbolizes a threshold of perception: each viewer encounters the image through the lens of their own inner state. Just as many religious traditions affirm that no single interpretation exhausts divine meaning, these paintings function as a multi-layered vessel, offering different revelations depending on the depth of engagement. In this sense, the work becomes not a fixed image but a living text and image, reflecting both base reality and the ever-shifting consciousness that attempts to grasp it.