In my continuing series of drawings the focus became to map and experience a journey of self through accessing the unconscious. The creative journey is for me, a living, shifting state or dialogue between what is seen and what is not seen, working with a process which attempts to engage both rational and irrational states in dialogue while experiencing my intimate environment.

Passion, the creative process and expression, inside and out of the studio, is as important to me as the outcome or finished works. My drawings, are in practice, a form of ritual where I gain access to a visual landscape of beings and personages that are drawn out in connection to my emotions, experiences and perceptions. Engaging in the dialogue between my inner and outer worlds, feeds the works in a cyclic fashion, often revealing messages or insights. I am not always conscious of where the imagery or message will lead or what it means to me immediately, yet the process of unravelling begins and ends cycles of metamorphosis. Each image is often a shedding of skin and marks moments of evolution in understanding layers of who I am and my connection to life and human experience. Through contemplation, acceptance and assimilation into experience, I work towards consciously engaging the imagination, to assist me in transforming, accepting & understanding aspects of self.

I often begin the journey with an active play of random, abstract mark-making. These marks map an interaction with my physical surroundings, defining my physical presence. When I enter this as a doorway, I am connected to a timeless source of fantastic imagery, where archetypes and symbols manifest. I use very little, if any reference material, allowing the imagery to be entirely drawn out of the marks and patterns in front of me, as the imagination and unconscious are engaged. Creating becomes a meditative and absorbing process, responding to the marks, medium and the flow of unconscious imagery, I have the feeling of scribing or visually translating the contents of my imagination and inner perceptions. Like transcribing lucid or waking dreams.

When combined with active questioning and listening, the symbolic becomes a part of my language, offering an interaction with, and a fantastical view, of life experience and perceptions. Engaging in this language and a suspension of the rational, is necessary to provide access to otherworlds and a deep sense of engaging with the sacred, magic and mystery of life. The dialogue becomes a useful tool for exploring experiences and gaining a sense of witnessing stories while actively participating in them; in life. In this sense, I feel my works also relate as forms of visual story telling in much the same way that wisdom traditions, symbolism and mythologies offer imaginative doorways to understanding aspects of self, patterns, cycles and connections to others; maps of soul that relate to all of us, our humanity. The visual language I use, is often inspired by the richness of these traditions, revealing a journey that is personal and a shared experience.

Kim Meghan Evans

"Seeing means, usually, to open your eyes and to look to the outside world. You can see another way. You close your eyes and you look in to your inner world. And I believe the best to do, is to have one eye closed and look inside, with the other eye, you have it fixed on reality, what is going on around in the world. If you can make a kind of synthesis of these two important worlds you come to a result which can be considered a synthesis of objective and subjective life. In other words, brought together to make the illusion of synthesis."

Max Ernst