GRAIN  LIFE IN ABUNDANCE speaks to dual holdings in Paul; it recounts recitation from poetic parts of him, yet parts that originate in discipline, a stringency in letter-of-law that belong to his didacticism and are remnant as legacy of the Old Covenant. The sylization of Joseph's coat both attends to the rigidities of the Old Covenant, its structures and form and linear directions for life, and also exists in tension–an abstraction of shape, dimension and line in color, holding the more abstract, expansive and sensate bounds of life in the New Covenant. GRAIN allows the interdependencies of words and phrase, their compliments in palettes, and sensual, rich textures to make a meal–served at the banquet table of Christ. Substance that feeds us, and belongs to Love, emerges by various visual and textural ways this passage brings us into God and the New Covenant in Christ. Storing up Grain in abundant years "so much it was more than the sand and the sea" we are in life-giving and thriving processes—a working knowledge and managing and maintenance of seminal/simnel abundance in God.

GRAIN  LIFE IN ABUNDANCE is a modular diptych.The moroccan version has a counterpart in the indigo-cobalt version, and there is a third dimension to the piece; GRAIN may also be hung as panorama, (quadra-paneled), meant in this permutation to be a piece that speaks into Joseph's panoramic, epic story. Experienced as the human heart's stretching steppe, a panoramic hanging of both versions of the diptych hanging together side by side addresses complex concepts of the panoramic nature of brutality and tenderness, cycles and binary duality (echoed in Ecclesiastes), seen and articulated in this work through knowledge of seven years of famine and seven of abundance, lean and fat cows, (one group swallowing the other), and an extraordinary coat whose form and composition-in stripes and construction for the human body speaks to bilateral symmetry in our human body’s design. Concurrently cyclical and binary–a dance of falsely dichotomous opposites captures our imaginations in the story of Joseph and the multi-colored Coat, bound in the textures and palette and spatial forms comprising the fabric of one garment.

Among the most remarkable qualities of GRAIN  LIFE IN ABUNDANCE is its palette— Morrocan mustard, curry and saffron yellows, muted cerise and bedouin browns, olive greens of Meditteranean places of belonging. These hues interact with each other in actual color vibration and in opacity and transparency, creating deeper layers of language and cognitive textures in the Scripture. They also firmly locate us, on the road where Joseph’s brothers sell him into Egypt, and in the wheat fields, or other ‘storing up’ places of creating a good foundation for the future– for ourselves within the Godliness of life in Christ, and of utilitarianism with a granular specificity Saint Paul exemplified. Hierarchies of words and phrases constantly move in interplay, fluidly carrying us through symbol and common-sensibilities, and the sensate warmth of sun-drenched grain, olives, berries and peeling ripeness of cinnamon bark.

GRAIN LIFE IN ABUNDANCE (v1). edition (1690) digitally signed, numbered prints; digital laminate to black aluminum. Created in LOGOS DIVINITY™ LLC design studio, Santa Fe New Mexico, MARCH 2010. Printed at FIREDRAGON COLOR, Santa Fe New Mexico. Certificate of Authenticity provided with source/origination information on artwork.