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 I tell people that I paint God’s mistake.  Yes, this is provocative for believers and non-believers but the concept of God is already a controversial issue. For myself, the controversy was accentuated in 1995 when I was told in a paranormal moment that GOD IS FORGIVEN and I was not thinking about God. However, my work is not about religion or atheism. My work is about the value of error and how understanding that enables us to transcend cruelty.

True Error is unintended loss which manifests as our mortal existence, and our moral crisis.  Our mortality is not the intent of death, but it creates our personal annihilation.  This personal destiny leaves each of us vulnerable to fear and condemnation because as conscious individuals we are descendants of previous existence where each of us is innocent of creating our mortal destiny, but vulnerable to condemning our connection with others who “created us to die” without our permission. Our “error” is our ownership of blame for mortality which is not the power over death; it is our power over cruelty.  Our cruelty is the belief that any individual is not consciousness itself. My research derives from an abyss of miscommunication with respect to our vulnerability to cruelty caused by the broken rhythm in our consciousness that is TIME.   With respect to Time our identity is I/WE; we are participants in a relationship with life and others, not a definition of right and wrong.  With respect to vulnerability, “I am” has the power of free will and the option to not care about “we” because none of us create our existence. It is forced upon us by someone else.  At worst, this freedom creates mockery: the entitlement to not care. Our parents create our lifetime and hope we cherish our existence; and every newborn baby has the power to mock that hope. So where does trust derive its reassurance for hope? In the same brokenness that offers mockery: our mortality.  Humanity is capable of witnessing mortality, but we are not capable of witnessing the state of death, nor is "God/sentient consciousness" because death would be the lack of all consciousness and all possible consciousness. Death has no witness. Mortality has many witnesses and is the presence of potential and individuality.  We cannot live without mortality.  Understanding this difference dissolves cruelty/mockery because it disempowers loss. A mortal being inherits previous existence/consciousness and is the witness to the change that creates but not to death nor to the ability to escape its own consciousness.

​Primarily I use the ancient medium of 2-D to symbolize TIME and our error.  Like the backside of a hung painting we are all absent/invisible before our birth and brought into reality through “the others” who made their mark on our canvas of life already. Once born we become a witness to the presence of our previous absence and our mortality.  We become a witness to the eternal divide in life: TIME AS MOTION with its hidden backside as well as its front.  On the front, each of us is a unique personality, somewhat unpredictable, and susceptible to change as we experience life. The content of my work expresses this enormous variety of individualism with my rotation of styles and mediums, vivid colors, energetic brush strokes, and weapons that remind us of our relationship with fear, suffering and the wilderness of life. The compositional structure of my work expresses TIME(s) such as the eye led off the canvas into the future, narratives that express the conflict of the future with the past and present, vortex compositions to remind us of our inescapable connection to a fractured reality, and word-play that presents rhetorical, circular affirmations of unapologetic humility as well as dichotomy perceptions of reality and consciousness. My “signature” medium is mirrors, broken to remind us of God’s error, and reflective to remind us that we are all connected to eternal time and sentient consciousness either as the front or the back.

GraceANN Cummings
the artist who paints god's mistake