​​​​​​ MARSHALL CARBEE - NEW EARTH PAINTINGS

          PROTECT YOUR FELLOW CITIZENS                                NEO BIO PANOPTICO


Self Organizing Principles in Carbee Art

Carbee Seeds Canvases with Bio Crystalline Paint and Rain Water and Lets Them Grow

American artist Marshall Carbee discovered something ancient. In recent years, his canvases reveal the discovery of what he terms an “eternal perspective” or timeless truth; a goal which Socrates defined as eternal, unchanging and absolute. An exuberant and diligent Carbee delved into a new territory based on fundamental certainties – the yield of beauty in color, composition and pattern after the combustion of chance is put into play; when canvases seeded with poured paint are left to elemental forces out-of-doors.
 
Reputed for his vivid, colorful artworks, he began experimenting with the effects of the outdoor environment on art surfaces in the 1980s. Leaving his watercolor-on-paper artworks to the beach and tides, he immediately sensed the vibrancy of an artist-and-nature collaboration. Shifting the media from paper to canvas, and from watercolors to custom-made paints, Carbee immediately seized upon the pairing, resulting in a riveting and ongoing series of artworks. 
 

“I usher a geological event on the canvas using the same vocabulary as in geology; precipitation, erosion, sedimentation, evaporation and accretion. I make paint with earth pigments and sea water, rain water, and gem elixirs. I then seed the canvas with paint. Like a farmer, I allow the canvas to self-organize. I collaborate with the forces of nature. I introduce gem stones and other bio crystalline, energetic materials. With exposure to the elements – the natural forces of the rain, wind, sunlight (prana), mist, snow, ice – I usher the composition into a landscape, a star field, river deltas, unknown worlds, deserts, the sea. I then return with them; bringing this connection to nature and directing that connection into the community.” 


To quote Richard Gerber -

"Multiple crystals placed into geometric forms and activated by "directed intention" of thought energies are called "gridwork systems". These crystal grid arrays have unique properties which amplify the energetic potential of the single crystals into more potent healing and meditative tools. Healers can use crystals to amplify their own healing fields".

 - Richard Gerber, MD,Vibrational Medicine

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Carbee explains his process as one that taps into a universal concept of beauty in nature, a process where he introduces a variety of raw bio crystalline materials into the piece and abandons it for a time, allowing art-making to the elements. "The paintings are fitted with bio crystalline gridwork systems that can be activated daily to amplify the energetic potential of healing and meditation."

“What I see again and again is a demonstration of the self organizing principle. The ice crystallization of paint, for instance, or the way a combination of paint and ink moves across the surface of the canvas from the push and pull of the wind, leaving patterns that look like the capillaries of a river system or a freezing planetary surface. There is a self organizing principle in the planetary orbits of our solar system that we now know was birthed from chaos. Whether the familiar spiral of a snail shell or the firmament that hangs above the sea, the nature of life is beautiful on a grand and micro scale. "

It's a simple code of self-organization that is in all creation. The paintings express the presence of this simple code. I use sun, wind, rain, erosion, tides, beach sand ocean water, gemstones, and earth pigments. Left raw to the whims of the elements, Carbee’s canvases also respond to the imprints of leaves, flowers and blades of grass.  Gems, crystals, beach sand, muscovite, and sea water lend a sparkling patina to the canvas, creating other worldly star-scapes. Carbee mines his own minerals in the gem rich regions of Maine. He uses the quartz, tourmaline (green, blue, pink, watermelon, black), beryl, aquamarine, garnet and mica for his paint making and for making the crystal gridwork systems of each piece.

The variables are considerable – how much time the canvas is left outside, atmospheric conditions, crystal and paint formulations. The paintings reflect the environment where they are made. Carbee now makes them in New England. "Where I work now, on the seacoast of New Hampshire, there’s a ever-changing beach climate, ocean airs, snows, thaws, rain storms, sub-zero temperatures and high heat and humidity."

The best part for Carbee is the unexpected metamorphosis, the happy accident, "It's good to work outside by the sea."


The paintings are created for activated bio crystalline meditation and protection. Bio crystalline gridwork systems are made with three or more paintings.  Bio crystalline arrays can be established in any geometric form, space or distance.

Muscovite from Mt. Mica

Energetic art materials: Aventurine, Amethyst, Quartz Crystal, Rose Quartz, Peridot, Red Agate, Citrine, Garnet, Bamboo Coral, Magnesite, Onyx, Tiger Eye, Aquamarine, Tourmaline, Lepidolite, and Muscovite.


​The aim of art is to represent not the outward appearance of things, but their inner significance.

– Aristotle.

















"FOR MANY YEARS I have been convinced that something occurs in the creative working of the imagination that is more fundamental—but more puzzling—than we have assumed in contemporary psychology. In our day of dedication to facts and hard-headed objectivity, we have disparaged imagination: it gets us away from “reality”; it taints our work with “subjectivity”; and, worst of all, it is said to be unscientific. As a result, art and imagination are often taken as the “frosting” to life rather than as the solid food. No wonder people think of “art” in terms of its cognate, “artificial,” or even consider it a luxury that slyly fools us, “artifice.” Throughout Western history our dilemma has been whether imagination shall turn out to be artifice or the source of being.

What if imagination and art are not frosting at all, but the fountainhead of human experience? What if our logic and science derive from art forms and are fundamentally dependent on them rather than art being merely a decoration for our work when science and logic have produced it? These are the hypotheses I propose here."


- Rollo May, The Courage To Create