The Implicate Order is a series
of paintings and drawings which address, on aesthetic,
experiential, intellectual, poetic and spiritual grounds, the areas
where Eastern spiritual traditions begin to intersect with
cutting-edge Western quantum physics models, and inform life
experience at its most basic levels.
My center of gravity has always been transpersonal spirituality--an experiential, trans-religious theism which allows me to find and communicate an inner peace that transcends physical boundaries. It is a process which must be grasped in practice, intuitively; to acquire a merely theoretical understanding of mystical spirituality is to miss the entire point of it.
"The Implicate Order," refers to the theories of physicist David Bohm, who postulated that there is a holistic, underlying order, deeper than space and time, which determines how the manifest, or 'explicate,' universe unfolds. These theories begin to converge with the age-old message of Eastern mysticism; that the world as we perceive it is a projection of the split mind, and that unified consciousness is the deepest reality.
mandala, pencil on paper
9"x 13", 2006
When I make a painting, I am not merely depicting an image,
but creating an object with a cohesive, palpable energy field that
affects the viewer on a visceral level, as well as a visual and
intellectual one. The aesthetic goal is to directly communicate a
transcendent experience, as opposed to simply illustrating an
In 2006 I began creating a series of mandalas, which I use as a compositional basis for this series of paintings. The process of drawing the mandalas is a meditative one, essentially a spiritual practice in itself. The compositions of the paintings are further influenced by direct synesthetic responses to selected pieces of music, by Arvo P rt and Igor Stravinsky among others. This gives me an integrative formal and working structure within which to explore both the idea and the experience of spiritual freedom.
--Stephanie Lee Jackson, 2007
"Heart," oil on linen
36"x 48", 2007
Trajectory: In painting the San Francisco Series, 1997-1999, I focused
very specifically upon the rendering of light. It was important to
me that the painting itself have an incandescent glow, and not
merely be a mechanical 'depiction' of light and shadow.
Additionally, I strove to create compositions of color and form
which were dynamic and efficient; to create a mood using the fewest
'Morning,' oil on panel
32" x 48", 1998
|Upon moving to Mexico in 1999, I continued the light studies, pushing the compositions farther in terms of color and texture, inspired by my surroundings. A visit to the Rufino Tamayo Museum in Mexico City, however, gave me to understand for the first time what visceral impact it is possible for a painting to have. I spent the next few years coming to terms with this experience.||
'D a de los Muertos II,' oil on panel
48" x 36", 2000
|The late Mexico series and early New York series paintings walk the line between representation and abstraction; I created images which were simple, direct, informed by both nature and metaphysics.||
'Dragon,' oil on panel
36"x 48", 2002
|Working in this deliberate and exploratory manner over more than a decade has given me an intimate undestanding of both formal issues and conceptual concerns which inform every work I create, however abstract they become.||
''Thistle,' oil on canvas
60"x 48", 2005