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Inkblot for Bees 2Inkblot for Bees 2 expands on my New Observations on the History of Bees exploring the connection between art and consciousness. Inspired by Rorschach's inkblot test the work reinterprets inkblots as visual stimuli designed to engage both pollinators and humans. Bridging Western science with traditional knowledge systems it aims to develop patterns that stimulate consciousness and interspecies communication. This piece reflects my ongoing exploration

although we live the lie that we can be separated everyday

and speaks to the complexity and duality of queer identity

It is a cast of brown bear claws taken from the specimen at the Tatra Museum in Zakopane that are incorporated into casts of my fingers and toes

worlds and galaxies within our veins

The work continues my interest in how image and memory shape our sense of belonging

The painting exists within multiple layers of time - fractured

The work is from the series called - 'The Openings'

green can quickly become associated with something ‘poisonous’ and ‘unstable’

suggesting both defence and entrapment

how they feed on each other and coexist

blurring the line between painting and sculpture

in which four sources of vibration alter the form of a cloud in a sealed environment (sphere)