"Genesis" --A painting about harmony

The generic or original version of "Genesis."

A sample of a "customized" version of "Genesis,"this particular version having been customized for Michael Stone, brother to the actress Sharon Stone, both of whose images appear in the painting a few times.

What follows is a Satirical Commentary on “Genesis,” which means, don't take it any more seriously than you feel like taking it. I don't. Warning: It's long!

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COMMENTARY/EXPLANATION

“Genesis” is about harmony within the universe. In the beginning, theorized Einstein, was the “Big Bang,” a euphemism for an explosion of energy and a collision of matter so immense that in a Milli-second the universe was formed.

Prior to the “Big Bang,” one could have collectively fit all of the matter which constitutes the universe today on the head of a pin. Although the universe continues to expand, the smallest particles of matter (i.e., electrons, protons—and particles even smaller than electrons and protons—the building blocks of the universe, which bond to form the molecular structure of all matter) remain constant—unchanged since the beginning of the first eon of time. The molecular structures that are formed by those microscopic bits of matter, however, are constantly changing, constantly in motion, constantly reincarnating all that exists, which is what makes the universe dynamic--“alive.”

These building blocks of matter, which make up you, me, planets, stars, oxygen and sunflowers have always been--will always be; thus, all things are “one” with the universe. The birth (and death) of living things, the erosion of mountains, the condensation of water falling as rain, the flickering flame of a burning candle, the flash of lightning across a stormy sky—all changes that occur to all things are merely re-configurations (reincarnations) of matter that has always existed, which is why both the birth and death of living things may constitute the beginning and end of mortality but not the beginning and end of existence since the universe’s building blocks (microscopic cells” in the macro cosmic “body” of the universe) cannot cease to exist—have always been, will always be.

THE SYMBOLISM: (a) The female face formed from the leaves (her eyebrow and eye) and stem of a plant (profiling her face), a flower (her lips), and butterfly (her nose) (see the right-center side of the painting); (b) the numerous skulls that blend into both sides of the valley of the “River of Sight” (upper left side); (c) the personification of nature (the prominent face in the top-right portion of the painting); (d) another female visage made from the two eyes on each side of the entrance to the river of sight, along with the barely-visible nose (in the ocean), and the mouth formed by a red fish, and the partial profile of the visage made from the dorsal fin of the whale (left side of the painting), (e) the personification of the wind as a barely visible human face just to the left of the eagle on the right side of the painting, (f) the semi-transparent faces that blend into the sky, of which there are several throughout the painting, including multiple images of Christ and one image of God—all of these elements symbolize the “oneness” of both living and non-living things—or more importantly, the harmony between everything that abides in the universe.

The outward explosion of light particles around the face of visage (top-center) represents the formation (“birth”) of the universe (the “Big Bang”). To the right, you see the face of Einstein, who postulated the theory of how the universe came to be, which, incidentally, is no longer a theoretical construct but has since been confirmed scientifically.

Although an infinite variety of molecular reactions occur at any given moment within the universe, two of the most vital periodic elements in the molecular environment of the universe that were (still are) essential for the creation of life (mortality) are (1) water, from the depths of which all life on earth originated and (2) light energy--which is why the bottom portion of the painting is the sea (the cradle of life), the middle portion, land (the eventual habitat of mammals, amphibians, reptiles, insects and a billion other species of living matter), and the upper portion of the painting, the sky (the habitat of birds—and, more importantly, the window for ultra-violet energy (light) coming from the sun and stars, an essential catalyst in the generation of living matter from non-living matter). The symbolic connotations of water and light are further elaborated in the female personages—each holding a child, emerging from the sea, at which moment, the personages change color, symbolizing their transformation from non-living matter to living matter. Similarly, you see the bolts of lightning striking the female (and infant) personages as they emerge from the sea and experience the life-spawning, catalytic energy of light.

Since the universe is one, all things are one, including life and death, symbolized by the female (center), who holds life (an infant) in one hand and death (a skull) in the other.

Ultimately, there is only the universe, which constantly renews itself (much like the cells in our bodies renew themselves throughout the transient state we call mortality), breathes (is in constant motion, like the blood that courses through our veins to the rhythm of our hearts ), speaks (generates sonic waves that make sound possible for living things to hear as trees fall, planets collide, babies cry and waterfalls roar)—the universe is not the mother of all that exists within it—rather, all that exists within it collectively forms the body of the universe, making you and me part of, not subservient to the universe—and giving everything that exists a harmonious commonality (a oneness, an irrevocable bond) with everything that existed, exists, and will exist .

MORE SYMBOLS: The domestication of nature—at least human nature (society, law, human rights, etc.) is symbolized by the tame (domestic) eagle in the lower-right side of the painting (i.e., the domesticated eagle is perched in the hand of a child)—as opposed to the unbridled (wild) eagle in flight, bound only by the laws of nature herself (i.e., survival of the fittest, natural selection, etc.).

Since amphibians, reptiles, mammals, birds, fish, and insects are among the most recognizable categories of life forms (at least on earth), I wanted to include at least one of each. Thus, you will find one amphibian, a frog (left-center), two reptiles, a cobra (center) and a Boa (around the central female’s neck)—which is also a reference to the “temptation of Eve” and the existential construct of free will. There are two birds (the two eagles). Other than the humans, there is also an elephant (the largest land-roving-still surviving species of mammal), and two whales, which are also mammals—and were included, in part, because they are the largest creatures of the sea and because of the evolutionary direction that whales took in “leaving” the ocean to become mammalian (land dwellers), only to return to the ocean eons later without surrendering their mammalian identity. There are also two dinosaurs (bottom-right—very small) to represent the extinction of life: past, present, and future. And, of course, fish are represented abundantly, most importantly, however, by a shark, selected because of its resilience to the force that drives evolution—natural selection (i.e., the shark has not changed/evolved in over 50 million years, making it, in some ways, the perfect life form since evolution is nature’s process of self-preservation through the “weeding out” of the weak and natural selection of the strong. Finally, there is a purple butterfly (far-right side, center), representing insects, among the most beautiful, adaptive, and resilient creatures which inhabit the earth.

Another symbol for the harmony between living things is the unbroken chain of tactile contact taking place between the whale (whose habitat is the sea), the infant (whose habitat is the land), and the eagle (whose habitat is the sky).

The tragedy of man’s disrespect for nature (i.e., the ecological and environmental damage man has inflicted upon our planet) is symbolized by the “black eye” and the tears emanating from the face of Mother Nature (upper-right). Adam and Eve (right-center) represent our existentialism and freedom of will, symbolized Biblically by the expulsion of Adam and Eve from the unnatural (temptation-free) environment of the Garden of Eden. Our curiosity and individuality make it possible for us to choose between good and evil, right and wrong, chocolate and vanilla, happiness and sadness. Although there is abundant evidence of our inhumanity, there is also ample evidence of our humanity. And since the “force” for good is greater than the “force” for evil—at least that is what I believe (i.e., “Star Wars”—Darthvater vs. Luke, our belief in the inalienability of human rights, our voluntary acts of charity, our commitment to protect the weak, our practice of faith, etc.), In the painting, I chose to focus on the positive manifestations of humanity rather than those that are negative, although, truth be known, one can’t be realized without the other (i.e., light requires both a positive and negative charge; there can be no yin without yang; good can only be defined through its contrast to evil ). Notice that each female personage emanating from the sea is unselfishly and generously holding an infant who is being nursed by a female personage other than herself (symbolizing cooperation, unity—all of the redeeming principles that define society and the point to the redeemable side of human nature). Note: I have also attempted to create a completely generic tenor toward religion, which, ultimately, has only to do with the construct of faith (which drives us, guides us, permits us to hope), by including a Buddha along with the personages of Christ. Can you find the Buddha? (Hint: Draw a vertical line rising up from Moses until you intersect the image of Buddha.)
Since the building blocks of the universe are infinite, logic suggests that beauty too is infinite as nature’s heart continues to beat to the rhythm of those building blocks as they re-incarnate themselves in a cycle that has no beginning and knows no end—such is the destiny of the universe. The beauty of nature is symbolized in the painting by the numerous depictions of flowers—although everything in the universe is beautiful and meaningful and important.

If you look at the tallest, blue-tinted, female form emerging from the sea, you will notice that she is holding an infant in her left hand. Notice that the infant is staring, eye-to-eye, with a face in profile. That face is yet another symbol of mother nature and the eye-to-eye contact between them represents a reconciliation between man and nature, not so much to undo or make amends for the damage that man has inflicted upon the face of nature since, in the timeless and universal scheme of things, that damage is less significant to the universe than the washing away of a single particle of sand on an ocean beach—but more importantly, the reconciliation represents man’s embracement of humility as he adopts the perspective that the universe does not revolve around mankind, a truth that does not degrade man’s state of being but, instead, puts the existence of man in a more accurate (and less arrogant) perspective: The oneness, not just of man and the universe, but of everything that resides in the universe. Those who allow themselves to comprehend this distinction may be rewarded with the capacity to experience an ecstasy of harmony between themselves and the universe that is both comforting and fulfilling. Peace and tranquility emanate from the knowledge that WE are all ONE. Just as the universe is infinite, we are infinite. Just as the universe is immortal, we are immortal. Just as the universe exists, we exist—just as the frozen matter that constitutes an icicle melts but does not disappear, merely changes its form, the building blocks of matter that make up everyone and everything do not disappear when people die and or when mountains erode to the sea, or flames extinguish. They merely take another shape, as the Bible poetically describes the process: “Ashes to ashes, and dust to dust.” This, I believe, is reincarnation in its purest form.

There are two “aliens” in the painting, included simply because it would be presumptuous to conclude that man is the highest form of intelligent life. Since the universe is infinite in shape, capacity, depth, and dimension, logic suggests that the circumstances required for the incarnation of non-living matter into living matter, and the evolution of living matter into intelligent, curiosity-arousing, living matter have occurred and recurred an infinite number of times throughout the cosmos, where time is merely a relative construct (i.e., E=MC2, the equation which has been used to symbolize Einstein’s Theory of Relativity, suggests a direct and measurable relationship between time and the speed of light: 186,000 miles per/second), a theory suggesting the potential existence of an infinite number of parallel dimensions within the universe, each with a separate plane of reality, each as real as the next, a concept symbolized in the painting by the presence of two, separate horizons on different horizontal planes to each other in the painting.

Note: A horizon can be imagined, sought, visualized and marveled at as we view a stunning sunset, but it can never be touched. No matter how fast one proceeds in a straight line toward it, it remains roughly 26 miles away, the unapproachable distance that separates us from the point at which the curvature of the earth creates the line we call the horizon. Some have pondered: Does the horizon exist or is it an illusion? Is seeing believing? Is touching believing (read the parable about the blind men and the elephant)? Perhaps, the closest we can come to answering these questions is to note that “Reality is defined by perception as much as perception is defined by reality.”

The horizon is an incredibly powerful symbol of the universe in that, like the universe, it has not beginning and, therefore, no end, although the eastern horizon upon which the sun rises has long stood for new life, a new day, the season of spring, contrasted with the western horizon upon which the sun sets, which has traditionally symbolized the end, the season of winter, death. More fascinating, however, is the fact that, at any given moment during which the sun sets from one person’s perspective, it rises from the perspective of someone whose physical position in relationship to the earth and sun is different. As one of those persons retorts, “The sun rises,” in unison to the other’s retort, “The sun sets,” who is correct? The answer, of course, is that both are correct, because the difference between what each sees is a matter of perspective—suggesting that reality is linked irrevocably to perspective (in this case, where one might be in relationship to the sun), just as the reality within one dimension is quite different from the reality within a parallel dimension. The reality of the inhabitants of each dimension is irrevocably dependent upon their relationship to the speed of light, which dictates the nature of time itself—complex stuff, except to Einstein, but interesting to ponder.

The “River of Sight,” the entrance of which, in the painting, is being guarded by Moses (and the two eyes on each side of its banks), whose stone tablets hold the inscription “The River of Sight,” rather than the ten commandments—the tenets of law from which modern law has emerged, represents man’s innate capacity to imagine, discover, wonder, learn, evolve intellectually, spiritually, and physically, the idea being that to wash one’s eyes in the River of Sight enables one not only to realize the majesty of being and perceive things that were previously imperceptible—but to find harmony and peace in whatever form nature dictates that we exist at any given moment throughout the eons of time in which we have existed already or shall exist in the future. We should not fear death any more than we feared birth, both events of which are merely catalytic to our continued purpose within the universe. We (or more precisely, the elements of the universe that constitute our physical being) have been bonding , un-bonding, and re-bonding since long before we were born and will continue to do so long after we die—a word that has unfortunately been associated with “permanence” since the only constant in the universe is “change” itself, guided by the need of all things to adapt and permit the process of natural selection to occur, which means that, with each change, growth occurs—and growth should never be feared. More succinctly, the universe is a better place today than it was yesterday and will be a better place tomorrow than it is today. That’s a good thing.

There are other symbols and surprises in the painting. Just as I used my imagination to create them, use your imagination to discover them. Most importantly, however, always bear in mind that imagination knows no limit. Like the universe of which we are a part, imagination knows no beginning, no middle, and no end. As you ponder the painting (might I suggest a magnifying glass to do so) and discover details that may interest you, do not wonder whether I, the artist, intended for them to be there. Claim them as your own discoveries, and they will be yours. Become what every artist is: Both the master and disciple of his or her own imagination.
FINAL NOTE: Each copy of this painting is unique in that it has been personalized in some way for the intended recipient. Please accept the gift of this painting as gesture of my love, respect, and appreciation for you. May you always know the stillness of humility, the harmony of understanding, the power of curiosity, the serenity of faith in all things, and the undemanding joy of life—and through it all, may you always, always exercise the power of your imagination, for as the saying suggests, “Impossible is (truly) nothing.”

Love,

Wes