| EARLY
WORKS: 1960's Thru Mid 1970's |
The
City Can Change Your Life
1962
Paul feels this early painting "may" have been
a precognition of 9/11.
The painting reads from right to left, like text in arabic
& the clock reads 9:04 (presumably a.m.) Along the bottom
are the astrological signs in reverse order.
This painting was done way before Paul's later employment
as a designer on floors 15 to 43 in the North tower of the
Wrold Trade Center. He was fired for suggesting that 17
structural bridges be built to connect the towers, provide
access between buildings & extra support.
Almost exactly 40 years later Laffoley was one of a number
of architects who submitted designs accepted for the competition
to plan the Freedom Tower. Laffoley took his inspiration
from the work of Catalan architect Antoni Gaudí.
His conception was to plan a gigantic hotel in the style
of Gaudí's Sagrada Familia church in Barcelona. You
can see Paul's submission in the archives of the Official
WTC memorial website. |
1962
Acrylic on board - 11 x 17 in.
Painting Rediscovered when Paul moved from the old BVC in
2006
Photo by - William Prior |
Early
Work - Unknown Title
1963?
Boredom & Style circle the Tao.
Suurban neighborhood, & similar symbols/icons to
'the city can change your life'
(heart, skull & clock in detail at far right)
the wheel of fortune & hand in center.
Click here for Larger
V
iew |
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1st
Painting with all elements of Paul's 'mature style'
The Cosmos Falls into the Chaos as Shakti Urborosi :
The Elimination of Value Systems by Spectrum Analysis
1965
Subject: The Cosmos Falls Info Chaos As Shakti Releases The
Uroborus.
"The Collapse Of Space Into Time Provides The Heat For
The Kundalini Of The Tantrika To Re-Unite With Shiva, Whch
Is The Fire-birth Of Shakti. All Suffering Is The Apparent
Separation Of Boredom & Care"
Homage To: Nostradamus, H.P. Blavatsky, Edgar Cayce &
Death
"it features at its center an X-ray of a human hand and
a view of outer space framed within a cosmic egg. There's
a portrait of the leader of a satanic cult to one side and
the image of an ecstatic nun copied from a film still on the
other. Below, a figure eight-shaped device like the drive
belt of a machine diagrams a cycle of spiritual states between
"boredom" and "care." It's a painting
about holding in equilibrium extreme opposites -- good and
evil, male and female, time and space, mind and body, order
and chaos, life and death."
- A
Beautiful Mind, Boston Globe, Sunday February 11, 2007.
Arts section cover-story by Ken Johnson. |
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Oil,
acrylic, ink, lettering on canvas
73 1/2 x 73 1/2 in. |
Mind
Physics: The Burning of Samsara
1967
Subject: The Innate Theatricality of the Physical Universe
Symbol Evocation: The Purifying Fire
"Mysticism Or The Communication Between The Levels Of
Consciousness Up Or Down On A Mass Scale Will Eliminate The
Concept Of Existence As Opposed To Reality-Pure Being. Technology
Will Equal Morality"
Homage To: C.J. Ducasse, Leonard Troland & Herman Hesse |
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Oil, Acrylic, Lettering on Canvas
73 1/2 x 73 1/2 in. |
The
Urban Fossickated Octave
1968
Subject: The Source of all that is Esoteric
Symbol Evocation: The Second Chance
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Oil, Acrylic, Ink, Lettering on Canvas
51 x 51 in. |
Homage
to Kiesler
1968
Subject: Frederick Kiesler, Sculptor, Painter and Visionary
Architect
Symbol Evocation: The Search for Continuity in Nature
Homage To: Frederick Kiesler |
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Oil, Acrylic, Ink, Lettering on Canvas
37 1/2 x 37 1/2 in. |
The
House Of The Self
1960s
Subject:
The Body As Temple Of The Spirit.
Levels of Consciousness.
Homage To: Ramana Maharishi |
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Painting was
just Recently Rediscovered!
Oil, Acrylic, Vinyl Lettering on Canvas
73 3⁄4 x 49 3/8 in. |
The
Number Dream
1968
"That the physical senses can provide an authentic advancement
in knowledge is a truism. Dreams also can provide an advancement
in knowledge. But the assumption is often held that knowledge
obtained from the senses is inherently objective and that
knowledge from visions and dreams is inherently subjective."
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Oil, Acrylic, Ink, Letters on Canvas
73 1/2 x 73 1/2 inches |
I, Robur, Master of
the World
1968
Subject: Redesigning Part of the Solar System
Symbol Evocation: The Natural Link between the Earth and the
Moon
Click here for Larger
View |
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Oil, Acrylic, Lettering on Canvas
73 1/2 x 73 1/2 in. |
The
Hollow Earth
1968
Collection of the Austin Museum of Art, Texas Comments:
The Theory of the Hollow Earth has three variations .... |
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Oil,
Acrylic, Ink and Lettering on Canvas
53 1/2 x 53 1/2 inches |
Alice
Pleasance Liddell
1968
Subject: The Real Alice
Symbol Evocation: The Awakening of Sexuality
Homage To: Charles Lutwidge Dodgson aka. Lewis Caroll &
Alice Pleasance Liddelle (the real 'Alice' in wonderland)
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Oil,
Acrylic, Ink on Canvas
73 1/2 x 49 1/2 in. |
Woodstock
At Bethel - The House Of God
1969
Subject:
Paul's Experience of the Birth of a Group-Mind Unity
at Woodstock music festival 1969
Click for Larger
View
Photo by - George of "Inner I Designs"
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No
Info Yet, Painting was
just Recently Rediscovered
Possibly
53 1/2 x 53 1/2 inches |
The Omega Point
1970
Subject: The process of evolution, which directs the force
of consciousness to a state of super-maturity
Symbol Evocation: The Universal Center of Unification
Homage To: Tielhard De Chardin
Click for Larger
View
Photo by - William Prior
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Oil,
Acrylic, and Lettering on Canvas
68 1/2 x 68 1/2 in. |
The
Velocity of Death
1972
Homage To:
Dylan Thomas, William Cullen Bryant,
Edgar Allen Poe and C.J. Ducasse
Click here for Larger
View |
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Box
Sculpture, ink and collage on wood
? x ? in. |
Alchemy
1973
Subject:
The Alchemical Process
Symbol Evocation: Traditional Western Magic
Homage To: Heraclitus, Empedocles, Abertus Magnus, Raymond
Lully, Paracelsus & Titus Burckhardt
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Oil,
acrylic, ink, lettering on canvas
73 1/2 x 73 1/2 in. |
Utopia:
The Suspension between
the Possible and the Impossible - 1973
Subject: The Dynamics of the Intentional Community
Symbol Evocation: Heaven on Earth
"The boundary-- non-utopic-- spaces are:
1. Eutopia: A life lived in relation to the mystical experience
and which abdicates the common good and all social connections
and responsibilities. In this space the ego believes that
it has become God. The vector is directly into the source
of all.
2. Kakatopia (or Dystopia): Lives are lived in the knowledge
of their mutual alienation ("we are all alone together"),
in mutually repellent spaces-- this is the literal bad place.
3. Kenotopia: Lives lived in a space of comfort and ignorance
without stress, striving or goals. It is the kitsch place.
The vector is a circle, which is established at fixed distances
from the source of all, depending when the life left the true
path to utopia, and can therefore account for differences
and levels of taste even in the realm of kitsch.
4. Oligotopia: A group of lives develops a system by which
they can leave the path to utopia and enter kenotopia, which
because of the system becomes the bureaucratic place."
Homage To: Heraclitus, Paul Tillich & Tielhard Chardin
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Ink,
Acrylic, Letraset on Board
28 1/2 x 28 1/2 in |
| Temporality:
The Great Within of the Universe
1974
Subject:The Nature of Temporality
Symbol Evocation: The Geometry of Change
Homage To: Goethe, Watts, Eliade, Heidegger, Davies, Kozyrev,
Dunne & Gurdjieff
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Oil,
Acrylic, Ink, Lettering on Canvas
73 1/2 x 73 1/2 in. |
| Utopia:
Time Cast as a Voyage
1974
Subject: The Dynamics of the Intentional Community
Symbol Evocation: Heaven on Earth
"The path to utopia is expressed as a non-oppressive
environment free from all systems whether they are hierarchies,
holiarchies or heteroarchies.
The form is the major fractal of the manifest universe--
the logarithmic spiral or equilangular spiral that makes
an infinite number of revolutions around the one, becoming
closer to it-- the source of all without ever violating
the one from the power of the ego."
Homage
To: Edward Bellamy, H.G. Wells, R.B. Fuller, Paul Tillich,
B.F. Skinner, Teilhard De Chardin, Timothy Leary (and others
too small to read presently) |
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Oil,
Acrylic and Lettering Canvas
73 1/2 x 73 1/2 in. |
The
Divine Comedy Panel I:
Cross-Section of the Conical Pit of The Inferno
1972-75
Subject:
Medieval Cosmos of The Divine Comedy
Symbol Evocation: The Symbol of the Sacramental Earth
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Oil,
and Acrylic on Canvas
Triptych Overall: 73 1/2 x 220 1/2 in. |
The
Divine Comedy Panel II:
An Elevation of the Mount of Purgatory
1972-75
Subject:
Medieval Cosmos of The Divine Comedy
Symbol Evocation: The Symbol of the Sacramental Earth |
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Oil,
and Acrylic on Canvas |
The
Divine Comedy Panel III:
Cross-section Through the Entire Medieval Cosmos (Paradiso)
1972-75
Subject:
Medieval Cosmos of The Divine Comedy
Symbol Evocation: The Symbol of the Sacramental Earth
Homage To:
Dante Alighieri & All Other Artists Who Have Tried Illustrating
This Full Story |
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Oil,
and Acrylic on Canvas
Triptych Overall: 73 1/2 x 220 1/2 in. |
| The
Flower of Evil
1973
Subject: Homage To: Charles Baudelaire's Poem of that Name,
and William Blake
Baudelaire
argued in favor of artificiality, stating that vice is natural
in that it is selfish, while virtue is artificial because
we must restrain our natural impulses in order to be good.
Homage To: Charles Baudelaire, William Blake
Click here for Larger
View
Photo by - George of "Inner I Designs"
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Oil,
Acrylic, Lettering & Ink on Canvas
73 1/2 x 73 1/2 in. |
Unidentified
1974
Subject: Presumably Alchemical |
|
No
Info Yet,
Assumed to be
Oil, Acrylic, Lettering & Ink on Canvas
73 1/2 x 73 1/2 in |
Get
Thee Behind Me, Satan
1974
To place one’s enemy behind oneself is the most dangerous
of acts, but not for someone who is beyond the realm of flesh
and in the realm of the Spirit. The Divine World is the inverse
of the mundane. |
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Pen
and Letraset on Rag Board
Screenprint in an edition of 100 produced in 1983
20 3/4 x 20 3/4 in.
Signed and numbered by the artist |
The
Levogyre
1974
" It consists of a series of nested spheres of fiberglass,
and a processional axis that has been fragmented and redistributed
in space in the form of two interlocking three-dimensional
equiangular spirals. Each shell is filled with ferro-fluidics,
which is a ferric compound ground finer that pumice mixed
into a very viscous oil, which then acts like copper wire
electrically. Each portion of the processional axis is powered
by means of on board electric motors mounted within the structure
of the axial fragments. On board solenoids act as triggers
for outboard radio-frequency power generators. At the torque
axis of each shell are mounted fiber optic beds through which
are transmitted circular laser beams at, of course, the speed
of light. When
the device is fired up, it begins with the outermost shell
and moves inward creating a torque transfer that increases
and, therefore, presses at the speed of light, not as in a
mechanical gyroscope where the angular momentum decreases
as it approaches the centroid of the device.What I have developed
is a method of distorting space-time to such a degree that
the Levogyre becomes a structured singularity. A singularity
is a point or local region of infinite mass density at which
space and time are indefinitely distorted by gravitational
forces and which is held to be the final state of mass-consciousness
falling into a black hole. The device weighs less, therefore,
while in operation, than at rest. I felt the Levogyre to be
a proto-time machine and developed the concept of The Time
Machine based on a method of controlling and amplifying pre
and retro cognition [pre-perception of the future and retro-perception
of the past]. |
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Pen and Letraset on Paper?
? x ? inches |
The
Fire of Time
1975
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Acrylic,
ink, and vinyl lettering on board
20 1/2 x 20 1/2 in. |
The
Human Soul
1976
Subject: No Info Yet
Sold
to a private collector |
|
No
Info Yet, Painting was
sold to private collector long ago.
Assumed to be
Oil, Acrylic, Lettering & Ink on Canvas
73 1/2 x 73 1/2 in. |
A
Human-Powered Vehicle
1976 |
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Ink
and vinyl lettering on paper
Triptych: 13 1/2 x 37 1/2 in. each |
Unknown
Laffoley Sketch #1
1970's (?)
Clipped from photo
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Black-White
Hole:
the Force of the History of the Universe to Produce Total
Non-Existence
1976
Subject:
Cosmology and a New World View
Symbol Evocation: The Mystery of Natural Singularities in
Nature
"THE BLACK HOLE is the Exit from the Universe: Toward
a State of Infinite Density, Infinite Entropy. Within the
Event Horizon World Lines Become Logarithmic Spirals and Events
Become Reversible.
THE WHITE HOLE is the Entrance to the Universe: Toward a State
of Infinite Volume, Infinite Neg-Entropy. World Lines Become
Homogenous and Isotropic. Choice Between Futures Transforms
the Choice."
Homage To: H.G. Wells, Oswald Spengler,Heisenberg, Hegel,
P.C. Davies, Claude Bragdon, Teilhard Chardin, Giusto Di Menabuoi |
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Oil,
Acrylic and Lettering on Canvas
73 1/2 x 73 1/2 in. |
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GALLERIES:
EARLY WORKS 66-76 - MID-PHASE
76-96 - CURRENT WORKS
96-2007
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