| MIDDLE
PHASE: 1976 Thru 1996 |
The
Renovatio Mundi
1977
Subject:
The Renewal of the World
Symbol Evocation: The Inverse of the Garden of Eden (World
Utopia)
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Oil, Acrylic, Lettering on Canvas
73 1/2 x 73 1/2 in. |
The
Living Klein Bottle House of Time
1978
Subject:
The Second Design Phase of the Time MachineSymbol Evocation:
The Singularity between the Third and Fourth Dimensions Spatiality
Comments: The basic change from the first to the second design
phase of the time machine is the addition of the Biochron
Time-Suit. This entity is a alternative creature that has
been genetically programmed to grow in the form of the living
Klein bottle.
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Oil,
Acrylic, Lettering on Canvas
73 1/2 x 73 1/2 in. |
Tesseract
House
1978
Subject:
The Cosmic Mission of Architecture
Symbol Evocation: The Tesseract as the Key to the Mystery
of the Universe
The only logical thing to do is establish a series of built
environments around the world that provide a higher dimensional
mood, thereby allowing any strange phenomena to be interpreted
in relation to time mechanics, such as flying saucers, UFOs,
implants, psychic phenomena, all as being, therefore, parts
of the time machine.
It is a live-in architectural studio for a team of designers,
seven people in all, three married couples and the team leader
who is single. When children begin to appear they will become
trained within the team. The team leader has private quarters
at the ground level. The team will pursue such design problems
as:
1. Physically alive architecture, both vegetative and mammalian,
2. Developing time machine variations in relation to the natural
scale of inerial frames of references,
3. Mega and nano engineering such as the earth-moon link up,
redesign of the solar system and eventually the entire universe,
and 4. the replacement of natural evolution by an understanding
of authentic human intentionally under the guidance of pure
spirit. |
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Ink
and Letraset on Board
51 x 33 in. |
The Metatron
1979
Subject:
The Numinous Nature of Revelation
Symbol Evocation: The interaction between Cosmos and Chaos
Comments: Transformative symbols can be considered as having
aspects that track the natural systems of revelation, and
those aspects can be considered as messages from The Metatron
to humans by means of methodological revelation.
META: That which is beyond, more comprehensive of transcendent
(a prefix) - TRON: That which is a complete instrument (a
suffix). Therefore, metatron means a transcendent instrument,
i.e. an angel. |
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Oil, Acrylic, Lettering on Canvas
73 1/2 x 73 1/2 in. |
Cosmolux
1981
Subject: The Natural Urbanism of the Universe
Symbol Evocation: The Cosmic Conventicle Comments: It is said
that throughout the history of humankind, both recorded and
unrecorded, there has existed an Invisium Collegium (or an
invisible college of people) who have formed a tradition outside
of all other traditions. The members of the I.C. are intrusted
with keeping the world from destroying itself and maintaining
humanity in readiness for participation in the cosmic task.
I believe that UFOs have been monitoring the work of the Invisium
Collegium and helping them to continue by means of forms that
go beyond consciousness. The end result to humanity will be
as a particular form of consciousness, as incomprehensible
to a particular human being as the nature of the human being
would be to one of the cells that go to make up that human. |
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Oil,
acrylic and lettering on canvas
73 1/2 x 73 1/2 in. |
Color
Breathing
1981
Subject:
A Color-Healing Device
Symbol Evocation: The Mystery of Color
" The lux of the mind is non-albedo light. It contains
the power of both light and dark, possessing neither brightness
nor opaqueness as its true nature. Pure color is a volumetric
extension of a single color, such as a sphere of redness
in which the color is not propagated from a point source
of energy. Instead it exists in a homogeneous and isotropic
state."
Homage To: Coco Chanel, Yvonne Martine, Jules Olitski, Helena
Rubenstein & Rudolph Steiner |
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Ink,
Letraset, airbrush on rag board.
Silkscreen on Rag Paper Edition of 100 in 1983
23 x 23 in. (sheet); 20 x 20 in. (image)
Signed and numbered by the artist |
The
Orgone Motor
1981
Subject: A Motor Powered by Meta-energy-
-An Unrealized Dream of Wilheim Reich,
Symbol Evocation: The Cosmic EggComments: In terms of its
output, the motor is a simple reciprocating engine that produces
kato-enery. However, its input energy is Meta-energy, or in
Reich's terms, Orgone energy. Meta-energy is energy that is
efficacious without motion, whereas Kato-energy is energy
that is efficacious with motion.
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Oil,
Acrylic, Lettering on Canvas
73 1/2 x 73 1/2 in. |
Chaos
- Cosmos
1981
Homage To: Plato, Mocrobius, Parrmenides, Heraclitus, Pythagoras,
hesiod,, Proclus, Neitzsche, Goethe, Mandelbrot |
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Box
Sculpture assemblage
83 x 65 x 23
(relief, wood, paint, glass, bone, stones, shells, toys, letraset, drawings, ping pong ball, catgut) |
The
Astrakakiteraboat
1983
Subject: The Kite-Boat and Astral Projection
Symbol Evocation: The Ship as the Symbol of Eternal Wandering
Comments: Astral projection, or the journey of the Ka, was
the major motif of classical Egypt; it was considered the
natural link between life and death. Astral projection affected
the daily lives of the Egyptians through religious ritual
and the arts and architecture. The Sun was seen as the source
of life, and was both the origin and final destination of
the Soul. The ship was the symbol of the wandering Soul after
death. |
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Oil,
Acrylic, lettering on Canvas
75 1/2 x 69 1/2 in. |
The
Nihilatron
1984
(color version available soon) |
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Oil,
Acrylic, and Lettering on Canvas
72 1/2 x 72 1/2 in. |
A
Fictive Analysis of a Klein Bottle
1985
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Oil,
Acrylic, Ink, Letraset on Canvas
73 1/2 x 73 1/2 |
The
Mellonchron
1985
Subject:
The Impact of the Future
Symbol Evocation: The Human Mind as the Future Existing Now |
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Oil,
acrylic, lettering on canvas
73 1/2 x 73 1/2 in. |
De
Rerum Natura
1985
Subject: The Nature of the Universe and the Human Condition
Symbol Evocation: Venus the Goddess of Creation as Free Will
and ChanceComments: The details of the life and career of
the Roman poet Lucretius (Titus Lucretius Carus, ca. 99-55
BC) are unknown. His famous didactic poem, written in dactylic
hexameter, De Rerum Natura (On the Nature of Things), presents
the world of ontological materialism, a philosophy derived
from Democritus (460-370 BC). The resulting way of life that
Lucretius preaches is not dissimilar to the contemporary vision
of agnostic science.
Although originally written to blunt the fear of death and
dispel the supersition of religion, De Rerum Natura remains
for us a curious precursor of our modern (or should I say
post-modern) sensibility of toal fanaticism combined with
a dynamic indifference toward everything.
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Oil,
Acrylic, Lettering & Ink on Canvas
73 1/2 x 73 1/2 in. |
The
Kyklos Of Hermocrates:
The Dream of the Eternal Return of the Canocini
1987
Comments:
The World is a Mixed Product of Reason and the Errant Cause
of Necessity AS the Difficult Mixture of the Demiurge
Paradox:
There is No Explanation for Reality - Chance is Supreme
There IS an Explanation for Reality - Law is Supreme
Homage To: Plato, Pythagoras, Heraclitus, (and others too
small to read presently) |
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Oil,
Acrylic, Ink, Lettering on Canvas
73 1/2 x 73 1/2 in. |
The
Aetheiapolis
1987
Subject:
The Organization of Individual Minds into a System for a Specific
Purpose
Symbol Evocation: The Form of UtopiaComments: The Aetheiapolis,
or Singularity City, is a proposed conceptual city with one
function: to realize the true nature of the form of utopia.
The sixty-four inhabitants are made up of thirty-two people
from the present, sixteen from the past, and sixteen from
the future. It is of paramount importance to the concept of
utopia to consult people from the past and future in order
to avoid being temporally parasitic to the social intentions
of those already dead and possibly temporally destructive
toward the social intentions of those yet unborn. |
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Oil, Acrylic, Lettering & Ink on Canvas
73 1/2 x 73 1/2 in |
Thanaton III
1989 Subject:
A Visitation by a Flying Saucer and Alien
Symbol Evocation: The tortoise as the Earth-Mother, the
Support of the World
Comments: The painting depicts an extraterrestrial's exhortation
to me, explaining how to:
1) Link life to death in a continuous experience.
2) Utilize the resulting thanatonic energy to travel faster
than the speed of light, turn matter into consciousness
and back again, alter evolution at will and exist simultaneously
at every moment of time.
3) Move the entire universe into the fifth dimensional realm,
and say when in history it is possible for this to happen.
I have
also received other information I cannot understand. |
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Oil, Acrylic, Lettering & Ink on Canvas
73 1/2 x 73 1/2 in. |
Mind
Body Alpha:
The Centroid of the Universe
1989
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Oil,
Acrylic, Ink, Letraset on Primed Canvas
73 1/2 x 73 1/2 |
The
Eloptic Nohmagraphon
1989
Subject: Recording the Degrees of Embodiment of an Entity
Symbol Evocation: The Lux: The Inner Light of the Mind that
can Model the Complete Appearance and History of the Universe
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Oil,
Acrylic, Ink, Lettering on Canvas
37 1/2 x 73 1/2 in. |
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Geochronmechane: The Time Machine from the Earth
1990
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Serigraph
in colored inks, with corrections by the artist in colored
pencils
Coventry acid-free rag
Paper: 32 x 32 in. |
Dimensionality:
The Manifestation of Fate
1992
Subject: The Natural Octave of Spatiality
and Temporality
Symbol Evocation: The Geometric Force of
the Tension between Fate and Free Will
Comments: The rationalized dimensionality
above and below the Euclidean third dimension (or the so-called
"consensus" reality) was the work of the geometer
and astronomer Carl Fredrich Gauss (1777-1855), who conceived
of a higher-dimensional analytic geometry, and the mathematician-physicist
Georg Friedrich Bernhard Riemann (1826-1866), who as a student
was influenced by Gauss. Riemann advanced the thought by
developing an N-dimensional manifold with a metric (a rule
for assigning lengths to paths), which meant you could now
consider force or energy as a consequence of geometry, thus
making the laws of nature seem simpler when viewed from
the context of higher dimensional space.
From the mid-Nineteenth Century until now, dimensionality
has gradually replaced the traditional concept of Fate--
the three goddesses who determine the course of human life:
Cloth (the spinner- who spins the thread of life), Lachesis
(the disposer of lots-who determines the length of life)
and Atropos (the inflexible- who cuts off the thread of
life).
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Oil,
Acrylic, Ink, Lettering on Canvas
98 1/2 x 49 1/2 in. |
Alchemy
of Breathing
1992
Expand Out : Contract In
The Universe is a Machine
The Universe is an Organism
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Serigraph,
30 ink on paper
20 x 27 in. |
Alchemy
of Breathing
1992
Expand Out : Contract In
The Universe is a Machine
The Universe is an Organism |
|
Serigraph,
30 ink on paper
20 x 27 in. |
It
Came from Beneath Space
1993
Subject:
Belmont, Massachusetts Transposed to Belmont, California
Symbol Evocation: The Inverse of the Miracle
Comments:
This depicts my 52nd lucid dream. The painting is in the
form of a Golden Rectangle, which is then subdivided into
eight squares that diminish logarithmically (the so-called
whirling squares of Phi). Phi is the general concept that
unites such elements as (1) the Golden Rectangle, (2) the
Golden Proportions .382…/.618…, (3) the logarithmic
spiral observed in nature, and (4) the Fibonacci number
series: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55,…etc,
also observed in nature. Phi is the principle of continuity
of life and death in nature. |
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Oil,
Acrylic, Ink, lettering on Canvas
61 1/2 x 98 1/2 in. |
Die Erde Blume - The Earth Flower
1994
Completion of Gaia's Evolution.
The entire planet becomes one superconscious meta-organism
encompassing the genetics & intelligence of all previous
and new life-forms reunified from the nano-bio-tech to the
mega-bio-tech levels. |
|
Ink
and presstype
on wood panel.
20 x 27 inches |
Xanatopia
1995
Subject:
The Utopic Space of Xanadu
Symbol
Evocation: It is my contention that Coleridge was attempting
to express unconsciously aspects of utopic space during
the lucid-dream composition of his poem: Kubla Khan: Or
a Vision in a Dream.
Homage
to: Samuel Taylor Coleridge (1772 - 1834) |
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Ink,
Gouache, Handset Lettering, Collage on Board
30 x 30 inches |
The
Thanaton
1996
Subject: My Personal UFO Encounters
Symbol Evocation: Our Natural Alienhood
Comments: Over all the years that I have
been involved with UFOlogy, in terms of my reading, what
has happened to me personally, and the meeting of others
with similar experiences; the only conclusions I can draw
are that we are not alone in the universe and that life
as we know it did not have its origin on our planet Earth.
In these conclusions I agree with many, but I know that
I am in disagreement with many more who hold that life occurred
"creatio ex-nihilo" by God, or that life here
on Earth and anywhere else in the universe evolved from
simpler non-life planetary materials.
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Ink,
Lettering, Acrylic on Board
23 x 23 in. |
The
Twenty-first Century Times
1996
"Paul Laffoley began his career as an architect (though
he was 'dismissed' from The Harvard Graduate School of Design
for "conceptual deviance") and apprenticed for
a while with the visionary architect Frederick Kiesler.
He remains an architect and architectural historian.
This is a self-portrait in which he recounts a number of
the extraordinary events of his life, and establishes links
to both his history and his future, the facts of which in
his view are equally determinable."
- Lyman Allyn Art Museum |
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Photomechanicals,
india ink, adhesive letters on board,
23 x 23 in. |
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GALLERIES:
EARLY WORKS 66-76
- MID-PHASE 76-96 -
CURRENT WORKS 96-2007
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