This place has fascinated me since I was a child - my Dad had served as a wartime doctor in Egypt in the RAF, amongst other things that he brought back, was an old photo of the Cairo rooftops with the mysterious mountain of stone sitting on the horizon. It was not an especially informative photograph, but it had always my attention and I remember it vividly to this day.

Over the years I have read and sought information about this architectural enigma, a deeply rooted passionate interest in the object itself developed, it has only been in the last ten years that there seems to be a revival of pyramid studies, no doubt stimulated by New Age enquiry. However, the most challenging theories about the pyramid complex have not come from the established bastions of what I call official Egyptology,

The pyramid links our human intelligence to specific cosmic markers, not only in our immediate solar system, but to other planetary bodies, it begs a fundamental question about human history and intelligence in relation to it.

At this point it would be fair to say that all is speculation and passionate interest, but as my enquiry has deepened, I realize that the pyramid at Giza is not only a cosmic, geographical and architectural phenomena, but also, a kind of myth making machine, a silent temple of impossible physics. It is as if its architects knew and appreciated, that this object would become some sort of magnet, not only to curiosity, but also to scientific enquiry and scholarly debate. Our present day enquirers trace steps and clues in an attempt to unlock some ultimate, magical, irredeemable and unquestionable fact about the pyramid and its environs, it makes for very interesting reading, and even more speculation.

Perhaps the most obvious expression about its relevance and timelessness is that the pyramid is represented on the US dollar bill, the form with its capstone of the all seeing eye, I wonder that it is of very specific significance, these aspects of design are not by mistake! It indicates to me that this form of the pyramid is crucial and perhaps fundamental to the existence of this form of money, perhaps all forms of money, and a symbolic reference, placed as a seal of authenticity, of knowledge of all kinds, of power. I do speculate that perhaps the true aspects of this association, links the pyramid to ideas, and or, constructs of earthly, planetary, power. It is all to easy to speculate on the evidence of conspiracy theories, however by even a casual glance at this seeming coincidence of design, I wonder that the designers of the dollar bill were instructed to include this symbol as a code carrier.

I have written all of the above text as a sort of commentary, my work as an artist has led me to investigate and seek for information of all kinds, it is probably that I have an affinity for this kind of intuitive enquiry that has no purpose in itself, apart from satisfying very deep levels of personal curiosity. I do not record any of my searching, instead entrusting it to memory, aware that all that I see is entering and becoming part of an expanding silent library of experiences, I do not " know " if it will be of any use to me or to anyone else.

When I go to my work in studio, it is as if I go into a space to remember, not to consciously search my mind, but to enter an arena of activity with another set of perameters as dictated to me, by the processes of the work itself. Conscious mind is shut down, because that state is always in referential to the externality of my existence; I know that there is an other space within memory, where the supercomputer of the brain never sleeps, a place of an expanding universe in the mind’s eye, a place of infinite invention.

The space represented by a blank piece of paper or a canvas, or even a studio, is only an opportunity to allow re-interpretation and invention, an arena where there is no separation between question and answer, evolution answers itself. I imagine that the end of the pencil is the actual point of transference and metamorphosis, where dimensions meet in space and time, and therefore as in nature, a method becoming skill, is adopted to represent this process and transference. Earlier on I referred to an effort to" pull down " mental information, it is as if data is descending and dropping in vibratory level, to be able to become form on the page, intuitive geometry is the silent physics of this action of conversion. The action of transferring thought through a process, into its most immediate and economic physical counterpart, an immediate gesture, mark - making on the ground, a surface, a wall, on a piece of paper. In this sense, drawing may be the mother skill to the action of writing, a picture speaking a thousand words. In my work in drawing I am conscious of the action of making a "written" document, one created by the action of giving form to language as it evolves.

The drawings evolve from an intuitive zeroing in on a point in the blank surface, marking that initial point of entry into this silent mental space; by the employ of a dot, that becomes a line, then entering geometrical space, line becomes form and referential spatial definition. Line multiplies upon itself to inform its own contextual significances within the surface arena of the page, it is to weave the form on and into the page’s surface, the page being the substratum for the presence of the data, transferred as an action in drawing. This conscious process is a meditation, a sublimation into silence, conscious everyday mind is suspended, it is as if to pray, to make a sacrifice of intelligence.

The connection between yoga and the Egyptians, is this belief in the geometry of the human body as being a cosmically aligned object, a shell or conscious vehicle from which and through which, participation in a gravitational and dimensional experience is made possible. A body for planetary action designed by the gods, and informed by a reverential and sacred science. It is as if God exists, but concealed beneath the layers of external sciences and significances, camouflaged always under a cloak of relevance, unseen, participating, but not at the same time.

There is a theory that the vertical alignment of the various chambers in the Great Pyramid is a design or representation of the human body as a standing figure, a sort of predated version of Leonardo’s Vitruvian Man, spinning inside a circle. I often wonder if there is a parallel line of thought, which suggests that the bodily configurations of yogic exercise may be sympathetic within the internal geometry and layout of the Great Pyramid. In other words, that the physics of yoga and the physics of the pyramid are sympathetic. Yet more passionate speculation.