One of the things which might have been noticed was that the rendering was done in pen/ink, not - as to be expected - in acrylic paints..... this was partly bercause of the love with working with the possibilities of textures which can be transcribed with the fineness of the pen... too, there is the metaphysical issue of absolutes being implied here - the ink and the paper constitute black and white, yet all manner of shades come forth from these ultimate absolutes, a reminder, in effect, that greys are indeed composed of blacks and whites..... consequently, there is, in me, a competing issue - that of black/white, or color - and each proscribes different 'sense of life' issues, and thus provides good contrast to the psychologicalness of these differents.... many years ago, did a still life of a bonsai, two in fact, one being black/white and the other in color - just to show how different the understanding of the subject can be depending on which is shown, what is being marked as different in emphasis...... it was an exercise in this, just as this is, in effect, the same - a personal judging as to what is best in persenting the theme/titles....... as a spiritual visualizer, which most shows that essence - that is what determines whether color or not.....

Beginnings can take many forms... for instance, in the rendering, "First the Sand...", what difference would have been achieved if the figure was omitted, and there remained on the beach only the forms of the sandcastle? there would still have been the human element, the conscious act of creation, in a universe showing possibilities - but there would have been the indifference of what kind of being did the work, the sex, the age, and yes, even the race would have been omitted - and the theme/titling would have reflected a time element, one of a passing, as it were, of the sand objects having been abandoned...... what, too, would have been a difference if, say, the scene had been elevated, seen from a height far above the eye level... what if the time of day had changed, and a long shadowing had been rendered... what if the sky was not clear, but full of clouds.... what if the vegetation were not so full, but sparce, or even barren..... each presents a beginning, as such - yet each presents a DIFFERENT beginning, and signifies a different presentation of the possiblilties and their chances of success..... as a spiritual visualizer, these are mindfulnesses which need to be taken into account, because each presents a metaphysical importance distinct from the others..... no, this is not to suggest the best is the lushness, and that barren is to be neglected as being of no real importance - but it is to suggest that context is needed and mindfulness is to be aware of the contexts involved, if the really import of what the artist considers to be of importance is thus rendered..... else there is an ambiguity there which lessens what may have been intended...