This exhibition is not a presentation of paintings.

 

It is an encounter with threshold states - the psychic, spiritual, and creative ruptures that occur when the artist stands in direct confrontation with the unknown.

 

Playing Chicken With God is the documentation of that confrontation.

 

Each panel within this triptych marks a point along a transformational arc - not imagined, but undergone. Not illustrated, but survived.

 

Together, they form a living cycle: rupture, rebirth, revelation.

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I. Initium Thaumaturgicum

 

Every act of creation begins in rupture.

 

Not a gentle opening, but a break in the fabric of certainty - a violent parting from the safety of the known.

 

This first panel occupies that raw threshold where the initial mark collides with the void. It is the moment of severance - the psychic and spiritual fracture required for anything truly new to enter the world.

 

It is intentionally left exposed: unsealed, unsoftened, unresolved.

 

Nothing is hidden.

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No aesthetic comfort is offered.

 

The viewer is brought face to face with the elemental honesty required to begin - the trembling courage of the first stroke, made without guarantee of outcome or redemption.

 

Here, creation is not mastery.

 

It is rupture made visible

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It is risk given form.

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II. Signum Renati 

 

If the first panel is rupture, the second is passage.

 

Through layering, glaze, and the slow distillation of light and shadow, a transformation takes place. The chaos of initiation gives way to coherence - not through control, but through surrender to process.

 

This work carries the residue of fire.

 

It is the evidence of an artist who has crossed an internal inferno and returned altered - translating private alchemy into visible form.

 

Softening does not imply weakness.

 

It signals integration.

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The wound becomes symbol. The fracture becomes language.

 

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III. Lingua Incognita

 

The final panel is culmination - not resolution, but emergence.

Here, symbol, iridescence, and layered signal converge into a unified field. The painting no longer asks to be interpreted in conventional terms.

 

It speaks first.

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Meaning arrives later.

 

This is the articulation of a language not learned but revealed - a visual tongue born from synthesis rather than study. It glows as if illuminated from within, carrying the unmistakable resonance of something felt before it is understood.

 

The viewer does not decode this work.

 

They experience it.

 

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These three panels are not separate works.

 

They are interdependent states within a single living system - bound by intention, process, and psychic evolution.

 

To isolate one is to interrupt the cycle.

 

To witness all three is to observe the full metamorphic arc:

From the terror of beginning, to the trial of transformation, to the arrival of revelation.

 

 

The title, Playing Chicken With God, speaks to the existential tension embedded in the act of creation itself.

 

To create at this depth is to stand before forces larger than oneself - instinct, grief, divinity, annihilation - and refuse to look away.

 

It is a dare issued to the infinite: 

 

“I will go first if you will meet me there.”

 

This exhibition exists within that stare-down.

 

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You are not asked to observe passively.

 

You are asked to enter the field of transformation.

 

To stand before rupture.

 

To move through transmutation.

 

To face revelation.

 

What you encounter here may not resolve cleanly.

 

It is not designed to.

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