As Baltimore struggled in the aftermath of the death of Freddie Gray, April 2015, I focused myself on Freddie Gray and his life, which seems like a catalog of what must change in Baltimore. I began a brush meditation using classic watercolor practice to mix gray using complimentary colors (red/green, yellow/purple, blue/orange) in ascending intensity. Four panels became the foundation of an installation, with an unfinished portrait framed in a Gray box, with Gray bandanas for viewers to take away and wear and use. This work will never be for sale.
African Goddess with Hope, and Aspiration sits in her garden of wishing flowers meditating on Peace, Love, Life and Happiness. Hebrew and Rastafari symbol(ism).
Our current cultural and political climate is fraught with tension, our lives increasingly more stressful, and the world more hectic. These truths demand our constant effort and attention. Thus, it’s important - and difficult – to take time to replenish our mental, physical, and emotional reservoirs. Nature offers humanity reprieve and provides pictorial and poetic narratives: a moss blanket comforts a broken soul; a nest bursts from and engulfs a birdcage; a large-scale, site-specific, wall mounted mandala comprised of a thousand golden lotus seedpods begs the viewers to find stillness in contemplation; a wall of multicolored baskets symbolize our need to constantly hold and care for ourselves, especially when difficult life experiences arise; and, two smaller mandalas – one made of seeds, the other of Bodhi (ficus religiosa) leaf skeletons – speak of ritual and meditation. Transformed into visual expressions, materials become metaphors for these psychological associations. Each work relies on the repetition and expansion of a fundamental unit to explore the relationship of the physical to the psychological. In all the works, less is more. Spare forms and conceptual innuendo swiftly carry each work into the bio-philosophic. They establish connections between the inside and outside of the body and mind to consider our larger relationship to the natural world. The  organic matter featured in this body of work metaphorically symbolize our collective human fragility; our need to be cared for and healed. 
The Meditations electroacoustic series highlights the musical voice of the performer within an interactive constraining structure. They are intended both for performance and personal use. This particular meditation provides an optional lead sheet and a computer program that plays along with the performer by sampling material live and playing it back transposed. The resultant harmonies and rhythms are tightly controlled to create a wave of consonance articulated by gentle dissonances.
"Peals' debut, Walking Field, is a meditative and exploratory headphone panorama of the highest order. From the first moment, they set aside the basses of their high-profile post-punk outfits for acoustic and electric guitars, keyboards, tambourines, toy pianos, and other sonic tools in pursuit of a stripped-down, warm living-room atmosphere.
I have continuously found a meaning of life in the nature. Our life is just a moment in the eternity of natural time. I have been trying to understand a principle of life. Then I read Japanese poetry, Haiku that is singing the aspect of nature with truth of life in very short verse. I have got not only inspired from Haiku but also got influenced from oriental ideologies such as Taoism and Buddhism. In these ideologies, I have a partiality for nihility of mind and absence of ego. Furthermore, it is about the Zen and self-meditation.
One of the things I really like about Lizzy is that she's an amazing writer, and during the prolonged and dramatic courtship I mentioned earlier, we came up with a project called Zentropy that would combine our talents. Lizzy showed me a few meditation podcasts, which have a very specific aesthetic and for some reason always seem to be created/hosted by a guy and a girl. So we each wrote a few skewed takes on the format and I concocted some appropriate background music.
My still-life paintings are conceived as portraits, and they are part of my search for beauty in everyday life. I have gradually turned from seeking beautiful objects to paint, toward finding the beauty in imperfect, flawed, and discarded things. This approach can provoke powerful emotional responses to the works. Light and attachment, distance and solitude, are the emotional threads that bind these works together. I intend these to be instructive, both for myself and for the viewer, in that they urge the us to seek and value beauty in the ordinary.