A photograph will simply never do this painting justice as it utilizes both fluorescent and pearlescent and metallic shades of paint. The Mandala construction is traditional; the execution of it was certainly not. Each of the triangles of which the mandala consists was painted in full, let dry, and the next one and did over top of that. That technique in combination with the way that the paint is applied both allows the colors of the paints to blend in some places and to simply show through in others, and in all cases, very distinctly allows the outline of each triangle to show through, thus very much maintaining the typical geometric presentation of the central figure. There are places on the painting where I allowed the paint to follow the tape lines out and beyond the different shapes that I was making. The effect is a bit like a loose thread in a weaving, which I intended. I wanted this mandala to carry the energy of life – the random imperfection of perfection. The end result of the painting and the process is a mandala that combines both Asian roots and North American Indian influences along with the influence of the 60s, not really an entirely unlikely combination but certainly a most unusual approach to this ubiquitous symbol. Painted on a liquid art board, the piece is self-framed.