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"The Alchemical Div..."

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"Supremus;Inferne"

"The Inner Cycle"

The Geocentric Universe"

"The Geometer"

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"Passing of the Ages"

"The Spell of Matter"

"Sun" or "Sol"

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"The Five Elements"

"The Witness and The Seed"

"Terra;Spiritus"

"The Harbinger"

"Desert Sky"

"Seer of the Inner Worlds"

"Gatekeepers of..."

"Seed to Flower" (Male)

"Three Mythographers"

"The Geometer"

CONCEPTUAL VIDEOS

ZODIAC SERIES

PAST WORKS

Concepts

"Alchemical Divination"

Conceptual Information...

This piece depicts a ritual taking place in which the soul or sum total of experiential information is transferred through a poplar seedling and re-materialized into human form.

The surrounding poplar trees are a representation of the great collection of disembodied souls/experiences. The augurs or as some would call, adepts are standing inside a "magical" circle from where they conduct the ritual. They are reading the magical rites from sacred scripts that they have prepared just for this ritual alone. The seedling poplar tree in the center represents the single soul/experience that the adepts are re-materializing through their divine ritual. The poplar seedling is burning as this ritual is commencing because the soul is leaving it and taking human shape. The poplar was chosen because its species is the first in which the genome sequence was fully identified and translated. In scientific practice, this would lend itself more readily to potential genetic engineering.

The central figure is shown rising above the ground as the small seedling beneath him is being burned. When the seedling is fully burned, the central figure will return to the ground. A poplar leaf is embroidered on his chest, signifying where his soul transferred from in this lifetime. The halo around him represents his connection to the divine and spirit worlds as the ritual is taking place. The halo is visually split into the shape of a cross, which is a sacred symbol for many of the world's religions, and in this instance represents a crossroads between two worlds: that of the spirit and the that of the physical. On each end of the cross are four symbols accompanied by arrow-like marks representing the divine flow of energy. The symbol on the top of the halo represents the Schrödinger equation (a wave function equation); the symbol on the right side is a mathematical symbol for wave; the symbol on the left side is the symbol for phi which is the golden ratio, upon which the canvas’ proportions are constructed. The bottom symbol over the man's heart is the poplar leaf.The poplar leaf resides over the heart as a representation both of the heart being the giver of life to the man and of the heart being given by the seedling that was burned. Its energy spike is centering upward visually through the spine and towards the head.

The Phi symbol which is located on the left side represents the continuum of life and death, as it is an infinitely repeating ratio that, when appearing in nature, makes symmetry and beauty. Its energy spike is centering towards the head and mind as the acceptance of this continuum of life and eventual death is infused into the new life.

The Wave symbol which is located on the right side represents the specific wave vibration into which the soul/experience has re-materialized for this new life. Its energy spike is centering towards the mind and head as the physical body is fully materializing and deciding which vibrational level to inhabit in this new life.

The Schrödinger symbol which is located on the top represents the ability of the soul or experience to re-enter the spirit world through its journey in this current body. The energy spike is centering inward towards the head and mind so that the mind is filled with the knowledge that it once was a spirit and in different form and so has the ability to return to that space or form once again.

The poplar trees and surrounding vegetation in the foreground are compositionally creating a circle around the whole ritual, visually encapsulating the divine work. This creates a pentagon inside a circle, which is an ancient religious symbol used by many cultures. The composition takes this form when fully broken down which can be seen in the orange shapes overlayed on the image.The six figures surrounding the central figure are compositionally shown inside a pentagon, which is the first self-repeating polygon showing the properties of Phi. This is representative of their tapping into the infinite continuum of life and death, start and end, alpha and omega, disintegration of form and re-materialization.

The seedling poplar tree in the center represents the single soul or experience that the Adepts are re-materializing through their divine ritual. The poplar seedling burns as this ritual commences as the soul leaves and takes human shape. The poplar was chosen because its species is the first in which the genome sequence was fully identified and translated. In scientific practice, this would lend itself more readily to potential genetic engineering. Twelve rocks and sticks encircle the seedling, representing the zodiac with the poplar as the center or sun releasing its energy in this ritual.

All the symbols have meaning in the composition as explained above, but when read from bottom to top, the composition communicates an additional meaning. At the base or the ground is the rocks, sand, and dirt. They represent the basal form of physical earth matter, while the seedling represents the basal replicating form of physical matter where the spirit can dwell. The Augurs crouching are reading not from scripts but from the earth's energy and sending it up toward the central figure. As the eye moves up the composition, the base of the feet and nonessential extremities of man's physical form encapsulate the basal pentagonal shape that represents the ability for spirit to take form infinitely from body to body. Further up or visually in the triangular shape or top of the star, the top half of the central figure's body with all his vital organs and functioning parts, is at the level at which the other Augurs are conducting their ritual and also at which the horizon splits the painting, thereby representing a visual metaphor for the veil between physical and spiritual worlds. At the top of the composition, the man's head is encircled in a halo that is imposed on a star, representing the divine link to the spirit world at which all spiritual work is being done in this ritual.

"Supremus;Inferne"

In this piece six figures rise above cloud cover on leaves. Each holds a twig emitting light. The banner above them translates as "Below, Above; Above, Below," summarizing the famous Hermetic axiom, "That which is above is like that which is below, and that which is below is like that which is above."

The iron ball at the center of the banner represents the point at which spiritual matter condenses into physical matter and physical matter dissolves into a finer spiritual substance.

The three symbols on each triangle are the Schroedinger equation, Phi (the golden ratio), and the mathematic symbol for wavelength.

The figures rise on red leaves from below, representing the physical plane rising to meet the spiritual plane. The red represents the material world, whereas the white and gold represent the spiritual world. Each figure holds a twig representing the physical realm and growth. These figures illuminate each twig's inner spiritual light, connecting "that which is below" to "that which is above," and thereby existing at once on both planes. Similarly, the physical vehicles of the figures emit their own spiritual light into the universe.

When seen from above, the figures, leaves, and clouds form an encircled hexagram. The triangles in the hexagram represent the positive/negetive, male/female, light/dark, etc., dualistic forces brought together by the encircling spirit world.

"Passing of the Ages"

This piece symbolizes the transition from the zodiacal age of Pisces to the age of Aquarius. The man on the left holds in his right hand a book inscribed with the "rotas-tenet" square, an early esoteric Christian symbol. He holds in his left a candle to his back, setting himself on fire in the process, symbolizing the end of the roughly 2,600-year zodiacal/platonic cycle of Aquarius, which has been equated with the religious paradigm of Christianity. The golden arcs surrounding the figures' heads consist of 8 smaller circles representing the planets, a sun symbol, a lunar symbol, and a serpentine shape representing the male spermata. 23 gold dots representing the 23 chromosomes adorn the figures' hoods. Each head in conjunction with its headdress represents an egg being fertilized. This, along with the candles and books, represents the human consciousness, in conjunction with astronomical events, passing from one paradigm into another.

"Witness and Seed"

"The Witness and The Seed"

In this piece a man is witnessing the acts of all creation as his spirit begins to take new form. The many buds throughout this piece represent the spirit just before it blossoms, crystalizing into matter.

The Witness-

The witness stands in a circle of stone and candles representing the universe, with its various stars, suns, and planets. He an object modeled after Earth's axial alignment with the solar plane and the center of the Milky Way galaxy, from which his physical body originated and with which it is aligned. From this object grows a budding tree. As the witness looks to the uppermost hand in the sky, he holds over his heart actual mineral crystals, fools gold flake, and gold leaf, all of which emanate light, symbolizing his direct connection with the original spirit source or "God".

The wound between the witness' ribs represents the wound given jesus by the centurion spear, the same wound into which the blind St. Thomas stuck his finger, affirming that jesus had been reborn. Along with the tree on the right, this wound suggests that the witness has lived before, has been a witness to the source or "seed ", and is now living again.

The Small Trees-

Although easily overlooked the two small trees in the foreground are significant in that together they represent the life and death of the body. The tree on the right has no leaves or buds, denoting that the spirit has left that body whereas a budding brown tree grows up the tree on the left, similar to the way DNA spirals, representing the budding of a new life.

The Geometric Structures-

A series of circular symbols rises above the small tree on the left. These circles represent cell division and the physical beginnings of the human life cycle, mirroring the tree below and its DNA spiral, but they also represent a sacred geometrical procession from the first green dot to what is called the flower of life. Like the bud, the first green dot symbolizes the spirit just before it blossoms crystallizing into matter. The second symbol, a green dot surrounded by a dark circle, represents the spirit making its journey into matter. The third symbol comprised of one dark and one light circle, represents spirit blossoming and crystallizing into matter.ymbol of the vesica piscis , as well as the first time in the geometrical sequence that symbols take on a three-dimensional character. The change from dark to light in this third symbol coincides with the tonal change in the sky, denoting a break from the one original regenerative process into a duality. This tonal division mirrors that between the witnesses regenerative sexual organs below and his vital and sustaining organs above. From these three structures growth continues until finally reaching the flower of life.

The Hands-

The threefold hand reaches out of the clouds resembling the traditional representation of god. The lower hand scatters buds, while the middle hand, with its peculiar blue and white markings consistent with those on the head of the witness, creates the symbolic geometric structure. Thus, the middle hand represents the force behind the flowering of matter. There 23 blue markings encircling the witness' head represent the twenty-three pairs of human chromosomes. The upper hand holds fools gold, mineral crystals, and gold leaf all of which emanate light symbolizing the direct connection with the original spiritual source or god.

"Sun"

The sun is the giver of life to our planet and the main source of visible light in our daily lives. This painting is symbolic of the source of sunlight as it disseminates from the spiritual to the physical realm of our experience. the Rosicrucian concept of "the seven worlds" guided the composition and concept of this piece.

The figure represents "god" or "the source" from which all matter and experience spring to life. He is symbolic of the first region of the seven worlds. Covering his body is a robe comprised of six levels, each separated by an iron sphere representing a point where physical and spiritual matter coalesce into new structures. The gold leaf encapsulates the figure's head and his arms reach out past the rainbow containing the first but also seemingly last region of the seven worlds.

Darkness, or outer-space, and crystals(real crystals adhered to the birch panel) comprise the first region of the robe(directly below the figures head),
representing the world of the Virgin Spirits as they await formation into matter. The crystals, possessing the ability to reveal the full spectrum of visible light, serve as a metaphor for the seed point of the rainbow surrounding the figure.

Crystals and a silver south facing triangle comprise the smaller second region. This layer represents the world of Divine Spirit and depicts an initial solidification of form.

The third region contains seven chambers. Increasing amount of gold leaf coalesce in each toward the central chamber. This region is the first to posses a warm tone (the red backgrounds), which represents the condensing of the world of Life Spirit out of that of the Divine Spirit. In this interpenetrating field, physical matter can change form.

The fourth region consists of six hands and a floating script, symbolizing the world of Thought. The hands transition from blue to green to a deep fleshy orange, each time passing more and more gold flake to the next. This transition symbolizes of the regions of abstract and concrete thought as they link to create a "blueprint" from which the world of Desire and physical world inherit their design.

In the fifth region, two blue birds flying away from one another, echoing the attraction-repulsion dynamic of the Desire World. The wings form from scripts held by two hands, representing the world of thought as it is passed on into the World of Desire so that it may be acted upon.

Two white birds fly towards one another in the sixth reason, echoing how the physical world in which we live is composed of the constant change and friction of form and thought. The bird's arms encode scripts formed in the World of Thought into the sky and the surrounding landscape. The golden rays surrounding this layer symbolize the original spiritual essence radiating on the physical plane as a result of its journey through matter.

The rainbow is the last barrier between the figure and the landscape and the region it encompasses including both the outer darkness and the figure, represents the god region, alpha and omega, source of the light as well as light itself. The god figure reaches beyond the rainbow with his hands, bringing forth solidified matter in the form of iron spheres, while the robe he wears and process depicted therein represents the interconnectedness of the god figure, spirit, and matter itself.

"The Geocentric..."

In the geocentric model of the universe, a concept once held by many civilizations, Earth was the center of the universe, and the heavenly bodies orbited Earth in perfect harmonious spheres.

The man in the center represents Earth; the twelve energy lines radiating out from him into golden circles (some with flower petals) represent the twelve main zodiacal constellations. Sixty green leaves sprout from these energy lines, representing the sixty minor constellations of the night sky.

The two white ducks below, one with a golden halo and the other silver, represent the Sun and Moon, respectively. The seven other ducks represent the planets, circling the man (Earth). The one large rock to the right of the white duck represents Pluto, as Pluto has recently been reclassified as an asteroid.

Within the man’s halo are a square within a circle, the former representing the material world and the latter the spiritual. Together they symbolize the esoteric concept of "Squaring the Circle," or aligning oneself with the whole of things in order to discover the secrets of the universe. The man’s hands also reflect this concept, one pointing up to the heavens (spiritual world) and one to the mountains, parallel with the terrestrial plane (material world).

The border, a dark grey crystalline arch, represents deep space and the borders of the visible universe.

"Seer of Inner Worlds"

"Seer of the Inner Worlds"

This "seer", or diviner, stands in front of a map, holding a candle and gazing trancelike into space . The map in the background represents his "Inner World", an interior spiritual landscape traversable by those willing to look within and find their own paths to illumination. This piece represents the meditation on, transcendence to, and discovery of an interpenetrating existence woven within our everyday world.

As in all my works, the twigs represent the figures past experiences/lives.

A nearby candle illuminates the map, suggesting that, although previously unattended, the map was waiting to be discovered. The figure, however, has discovered the map of the inner world through his own means and light (the candle he has brought).

"Desert Sky"

This piece represents the procession of the heavenly bodies through the sky and zodiacal zones, represented above the man as the heavenly and spiritual world, as well as their return under the horizon into the terrestrial or lower mundane realm. The man holds a wooden branch over his stomach representing the physical realm, he wears a hat with the symbol of the sun flanked by two crescent moons(representing the sun and moon). The splitting of the terrestrial and heavenly realm is echoed by the horizon line in the background as it splits the actual sky from the surface of the earth as well as visually bisecting the man. Arching over the man and extending down to the stick are golden circles(representing the sun) each accompanied by a small silver dot(representing the moon), there are twelve of these, echoing the 12 zones of the zodiac and the sun and moons precession through it. The small symbol above the mans head is the symbol for Ophiucus(the 13 sign of the zodiac). The candle represents the terrestrial sun as it passes through the sky.

"The Harbinger"

In this piece a man, the harbinger, is standing on top of a red rock cliff, encircled in small blue flowers. He holds a scroll and a scale as he parts his robes, revealing a sash adorned with small circular structures. He gazes at the viewer as the sun pierces through storm clouds, filing the field behind him with soft light.

A harbinger is a messenger who foreshadows what is to come. The scroll in his right hand depicts the apparently finite life cycle of a plant, from seed to sapling to flowering and finally death. In his left he holds a scale weighing blue flowers, a metaphor for the judgment of one’s soul. However, in parting his robes, the harbinger reveals a deeper truth depicted on his sash. In this image, the small blue circles represent cells regenerating into more complex structures, suggesting a life cycle far more continuous, if less perceptible, than the one depicted on the scroll, and one unbound by ethical consideration.

The composition and background weather have symbolic significance. Light bears down on the harbinger’s right hand and the scroll depicting a plant’s physical stages, from birth to death. In his left, where the sky is darker and almost stormy, he holds the scale containing the soul of the plant. In ancient esoteric symbolism, light represents the physical body and earthly realms, whereas darkness represents the astral plane and the dwelling place of the soul.

The fringes on either side of the robe, one dark gold with a thin stripe of light green, the other light green with a thin stripe of dark gold, recall the ancient yin and yang symbol. The separating of that symbol reveals the sash, a mirror into one’s own immortality and the base structure of material and spiritual existence.

Gatekeepers"

In this piece a woman is shown holding an empty text, she is accompanied by two identical men in robes, one holding a staff and one holding a sword. In the background there appears to be a wall of rocks in which there is a passage just beyond the triad of figures. On the ground are burning pieces of wood from many staffs that have been burnt before.

This piece is a representation of the life cycle of man or man’s soul. The two figures represent life and death, their robes being red which represents blood and earth.

The figure on the left represents death, he sternly looks you in the eye with his face pointed straight at you in a commanding pose. He is holding a sword which represents the point at which the soul is cut off from the body.

The figure on the right represents life or rebirth, he calmly looks you in the eye more relaxed than his counterpart. In his hand he holds a staff, on the top of the staff are small leaves and at the bottom is an ember slowly burning its way up the staff, representative of the temporal aspect of life from birth to death. As you’ll notice in the surrounding area there are many small staffs and embers that are slowly burning out, these represent past lives.

The woman in the center is shown holding a scroll which is attached to a pole that is slowly burning from one end. She is dressed in a blue and purple robe which are “visually” light airy colors that represent the soul’s disconnection from the earth body(the red robed men) while it is in its ethereal state. She looks down at the scroll as the two men seem to guard her, or guard the knowledge the scroll seems to posses. The scroll depicts the knowledge or experience that is to be had while the soul is in transition, though there is nothing wrote on the scroll. This lack of knowledge or experience(on the scroll) is used to represent the concept that all there is to be learned for the soul in it’s transitional period has already been.

The wall seen behind the figures represents the division between the constant cycle of life and death and the breaking through of that cycle towards enlightenment (behind the wall represents enlightenment).. The ground is rocky and barren where the figures are standing yet growing just around the foot of the wall are small flowers; these represent true knowledge. The true knowledge that can be gained only when one has chosen to let go of the constant cycle of life and death. This is why compositionally in this piece the figures which represent the cycle are shown blocking the entrance into the background(which represents enlightenment), yet there is nothing left to read on this scroll; so what is depicted here in this painting is the moment before the soul moves on past the cycle and enters into enlightenment.

The reason why the figure on the right still has a staff that is still burning, which represents a temporal lifetime, is representative of the concept that one can attain enlightenment while still alive, it does not necessarily only happen after death.

"Five Elements"

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"The Inner Cycle"

This piece is symbolic of the five stages of spiritual alchemy which are often represented by birds- the crow(in the basket), the swan, the peacock, the pelican, and the phoenix(represented in this order in the five stages of Alchemy). The two women represent the physical body and left to right represent birth and death respectively. Spiritual alchemy is a long term meditative process in which one guides his or her inner self toward a transformation (symbolically from lead to gold). The woman on the left wears a pink/red robe signifying the colors of vitality, blood, and the earth. The woman on the right wears a dark blue robe signifying death, coldness, the unknown, and the night sky.

"Creation"

In this piece a man and woman stand between two trees on a ledge overlooking a valley of white sand dunes.

The man is aiming a bow and arrow up towards an outgrowth of flowers. The flowers, which represent the female egg, fall from above into a basket the woman holds in front of her womb. As in ancient Chinese and Middle Eastern cultures, where the bow and arrow have been known to represent coitus, here they represent the male spermata and fertilization of the egg. The serpentine shape adorning the man’s head also represents the male spermata, and the twenty-three blue dots the chromosomes. The ornament on his belt, with its black center set in gold, recalls the ancient symbol for the Sun.

Two swans form an arch above the man and woman, wings outstretching. Golden scrolls bearing the words “Sol" and "Luna" – Sun and Moon, respectively – weave through the swans’ wings and the tree limbs. The swans are facing each other, holding small, conjoined rings, one gold and one silver, in their beaks, representing the coming together of the male and female, Sun and Moon. The conjoined rings also represent the vesica piscis, an ancient symbol that has many interpretations, in this case the coming together of the spiritual and mundane or physical worlds.

"The Sunset Ritual"

This piece represents a ritual dedicated to the sunset. the man holds a candle with a halo around it- or an energy radiating center with a golden circular halo (the sun). Behind his back he holds a wooden stick with a golden moon. The man stands between the two with a a golden radiating halo around him- symbolic of his connection with the sun. The small symbol on his head originates from the serpent shape the egyptian royalty as well as egyptian priests/priestesses wore as ornaments.

"Continuum"

"The Inner Sunset"

"The Inner Sunset"
20" x 36" Oil on Canvas, 2011

This piece utilizes the natural cycles of the heavenly bodies as a metaphor for the cyclical transitions and transformations of the opposing poles of mans inner psychological natures. The opposing poles can be viewed as good and evil, positive and negative, or light and dark, good and bad, etc.

The men with the light suits represent the sun, the men in the dark suits the moon. The shirtless man represents the womb of the night sky to which the sun must venture daily. This transition has been likened by many ancient cultures as the sun god dying to traverse the unknown areas of the night sky, giving reign to the moon, only to be reborn again in the morning. This death of the sun is represented here by the violent puncture of the sun figure as well as the obvious backdrop of a sunset in the composition. The sunset is represented by the sun figure dropping it's rose petals, symbolic of the suns rays dropping below the western horizon. The roses therefore symbolize the two luminaries, the warmer hued roses the sun and the cooler hued roses the moon. When seen on the ground they represent past suns and moons, when held in the hands of the opposing figures they represent future suns and moons.

The robed men represent the Sun and the Moon in an eternal or archetypal state presiding over a ritual of self sacrifice, transformation, and rebirth. Standing in a pile of past days, they read from texts, pronouncing the daily ritual of the voyage of the sun and inner light through the night sky and inner darkness.

"The Geometer"

"The Geometer"
60" x 37" Oil, Gold Leaf on Canvas, 2011

The geometer in this piece represents the mathematical process in nature that gives rise to shape and form. The banner above the man shows a nine fold structure depicted with gold leaf dots encircled by blue. This structure progressively shows the life cycle of a flower, more precisely the blue flower that is seen throughout the composition. The cycle suggests that the physical flower has grown to a fill a predetermined geometric blueprint which survives after the death of the flower. In the banner the gold dots represent spirit, the dark earthy tones represent the material world into which it manifests. This principle is echoed in lower left hand corner by the golden saucer, or spiritual container, into which is poured the dark water, or material substance.

The man holds a compass and an open book which depict the stages of the blue flower, suggesting that he is following a procedure which leads to the creation of the flower, making him the geometer.

The mans robe is adorned with 33 diamond like designs, twenty six having a different color in each and seven having a golden dot. The twenty six colors are a simple cypher for the twenty six letters of the english alphabet. In the center of the page is a square with one hundred squares inside. Utilizing the color alphabet from the cypher on the robe the square is able to be read from the upper left to the lower right. It reads-

"So that the beginning is to the end as the end is to the beginning and that to the distance between there is neither"

This statement suggests that from the view of material substance, in this case the flower, there is a beginning and an end- a finite cycle- though from the standpoint of the eternal geometric or spiritual framework the cycle is infinite.

"The Eternal Formation"

"The Eternal Formation"
48" x 60" Oil on Canvas, 2012

This piece represents an Alchemical ritual inspired by early Hermetic philosophy. In this piece can be seen the splitting of matter into four elements and the trifold nature or trinity of the archetypal nature of the cosmos.

The two males figures represent the duality in material nature- on the left is the sun figure whom is seen in front of a setting sun. This figure also represents fire and air, symbolized by the candle as well as red robe; air by the light blue drape.

The figure on the right symbolizes the moon, who is on the side of the sky that is entering twilight as the moon is ascending. The right figure also represents water and earth as symbolized in the jug of dark water and the bag of twigs as well as the green robe he wears.

The central figure represents the cosmic mother goddess and pure spirit before it descends into matter. In medieval belief the band of the milky way was the source from which spirits entered the souls of men. The central figure is shown with a dark blue robe symbolizing the spiritual abyss, band of the milky way and night sky from which material existence has sprung. She also has a small yellow drape representing the sun. These drapes show that duality has originated from her and that the material duality represented in human form below are merely the cloth covering pure spirit (the female figure).

The golden container in front of the left man is a representation of the sun as shown by the golden ball on the top of the lid and it also has eight emeralds on the lid (the eighth is hidden behind the sun)- this references the 8th card of the tarot which has a lion on it and represents the sun.

The green object in the center is a representation of the earth. The lines around the object are a reference to the axial alignment of our earth to the center of the milky way galaxy as well as the solar plane. The figure is shaped as a taurus, a shape that echoes the properties of recycling and rebirth, evidenced by imagining a point starting in the center of the object then following a straight trajectory on the curvature- the point will start from the center and transfer to the outer surface, then make a trip back to the central point again in a cyclical fashion.

Throughout the composition can be seen different colored feathers. These simply go in order from the left to right and represent the five stages of spiritual alchemy which are represented by the crow, swan, peacock, pelican, and phoenix.

Throughout the background in the trees are 18 hidden alchemical symbols.

CONCEPTUAL VIDEOS

Contact

REPRESENTATION

Please feel free to contact me with any questions about my art, concepts, techniques, commissions, pricing, art work availability, influences, etc. I love answering questions and explaining my work. (admin@crsedgwick.com)

PRICING

Please feel free to contact me with any questions about my art, concepts, techniques, commissions, pricing, art work availability, influences, etc. I love answering questions, explaining my work and engaging in intellectual dialogue. (admin@crsedgwick.com)

$900-$34,000

Prices vary with the size and complexity of work, i.e. a work with five figures will cost more than a work of the same size with a single figure. There are extra costs for commissioned work, mainly for time involved in the produciton of multiple sketches.

Resume

CHRIS SEDGWICK
828.423.5099
admin@crsedgwick.com

BIO
Chris Sedgwick was born in Florida in 1981 and began painting at a young age. He graduated from Florida State University and began a career in painting after moving to Asheville, NC. His inspiration spans from the spiritual to the scientific and his work often evokes intense emotional responses. His work is in numerous private collections worldwide and his housed in the permanent collections of Richard Kessler, Florida State University and Western Carolina University. Sedgwick currently lives and works in Colorado; drawing inspiration from the surrounding natural beauty of the Pikes Peak region.

STATEMENT
The inter-penetrating layers of symbolism, mysticism, and narrative in my work constitute a timeless world of ancient rituals and divinatory rites. In synthesizing techniques of the old masters, ancient mystical teachings, and contemporary science, my work focuses on the uniqueness and universality of inner landscapes and transcendent experience.

PERMANENT GALLERY REPRESENTATION
Gallery Minerva, Asheville, NC .July 5th 2005 to present
Robischon Gallery, Denver, CO Nov. 2011 to present
Elaine Erickson Gallery, Milwaukee, WI Feb. 2010-present

EDUCATION
Florida State University, Bachelor of Fine Art, 2003

PUBLIC COLLECTIONS
Western Carolina University Museum, Cullowhee, NC
Florida State University Museum, Tallahassee, FL
Kessler Collection (Richard Kessler), Orlando, FL

Private Collections
Available upon request

PRINT PRESS
Menendez, Didi, "Poets and Artists Magazine # 30", POETS AND ARTISTS MAGAZINE December 2011
Steven Zevitas, "New American Paintings #88 South" NEW AMERICAN PAINTINGS, summer 2010
Adelstein, Edie “Tricks to the Trade” COLORADO SPRINGS INDEPENDENT, June 17, 2010
Editor, "Spiritual Symbolism" AMERICAN ART COLLECTOR, feature article, June 2009
Clark, Pual "The Circle of Life" THE ASHEVILLE CITIZEN TIMES, cover artist and feature article, Sun. Aug. 5, 2007
McNally, Jennifer "Science and Spirit" THE LAUREL OF ASHEVILLE, cover artist and interview, Nov. 2006

Awards
Andy McLachlin Endowed Scholarship, 2003
Ogelsby Gallery Annual Purchase Award, 2002

EXHIBITIONS
2012 June 1st "New Works" Featured artist Gallery Minerva, Asheville, NC
2011 Nov.10- Dec. 31 "New Works" Group Show at Robischon Gallery, LoDo District Denver, CO
2011June 3- June 28 "New Works:Art Walk" Featured artist Gallery Minerva, Asheville, NC
2011 May 5-28, "Gatekeepers of the Cycle", Solo show at Dalet Gallery, Old City Philadelphia, PA
2010 Sept. 24-26, “Alchemy throughout the Ages” Rosicrucian Salon, Group show at the St. Francis Hotel, downtown Santa Fe, NM
2010 July 15-Aug 28, “Rooted in Nature” Group show at Elaine Erickson Gallery, downtown Milwaukee, WI
2009 June 5th-July5th, "Ancient Pathways" Solo show at Gallery Minerva, downtown Asheville, NC
2006 May 5- April 5, "Local Visionaries" at Front Gallery, Downtown Asheville, NC
2004 February, “Arts in the Warehouse” Providence, RI
2003 May, “Graduation Show” Florida State University Museum of Art
2001 November, Ogelsby Gallery annual juried 3-D show, Tallahassee, Fl
2001 March, Ogelsby Gallery annual juried 2-D show, Tallahassee, Fl, purchase award
2001 February, Gadsden Art Center, Quincy Fl

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