The Target Unseen by Edward Lentsch

t h e TA R G ET U N S EE N § | Φ A N E W C O L L E C T I O N

selected works from 2007 - 2015 Lentsch’s work has the pathos of Rembrandt, and the atmosphere of Kiefer. Tonya Turner Turner Gallery Santa Fe, NM

EDWARD LENTSCH American born April 14 1959 California Profile Edward Lentsch is a well-established mid-career painter working in mixed media on canvas. Lentsch’s monumental sized works exhibit unique surfaces and refined textures while also reflecting a contemplative element of alchemy and spiritual introspection. The spiritual overtones of Lentsch’s painting are captured by his titles, where he uses mystical images and esoteric subjects to inspire the imagination of his viewer. His titles are compelling as he reaches for what he refers to as a “dialog that defines synectics…” (a concept first coined by Buckminster Fuller --20th century visionary inventor.) Wikipedia contributor William Gordon describes synectics as: a problem solving approach that stimulates thought processes of which the subject is generally unaware. He describes this method as, “Trusting things that are alien, and alienating things that are trusted.” In Lentsch’s work he often pairs paintings with titles that attempt to explain this idea of synectic reason by connecting a vast matrix of complex relationships between science and mysticism and the metaphysical and spiritual. “My work is about human potential and consciousness. My passion for painting is intertwined with a passion for science and learning; logic and mathematics, mysticism and mastery.” EDWARD LENTSCH APRIL 2015

Target Unseen

2015路 46 x 76 inches

know all things to be like this: a mirage, a cloud castle... nothing is as it appears. The Buddha

Ad Hominem appealing to feelings or predjudices rather than intellect. The philosopher Charles Taylor has argued that ad hominem reasoning is essential to understanding certain moral issues, and contrasts this sort of reasoning with the apodictic reasoning of philosophical naturalism. 4

Argumentum Ad Hominum 2012 100 x 80 inchesâ&#x20AC;?

If a philosopher presents a â&#x20AC;&#x153;naturalistic view of knowledge,â&#x20AC;? arguing that all knowledge is a function of the adjustment of an organism to its environment and at the same time pleads that his own knowledge is an exception to this generalization, then the ad hominem fallacy would occur.

“Apodictic” or “apodeictic” (Ancient Greek: “capable of demonstration”) is an adjectival expression from Aristotelean logic that refers to propositions that are demonstrable, that are necessarily or self-evidently the case or that, conversely, are impossible.[1] Apodicticity or apodixis is the corresponding abstract noun, referring to logical certainty.

Aristotle’s Apodicticity 2011- 78 x 132 inches

PROFESSIONAL PROFILE Edward Lentsch’s expansive artistic practice explores his relationship between the self, nature and the universe. From the Fibonacci sequence to the teachings of Aristotle, Lentsch attempts to create a bridge between the natural world and these intellectual canons, exploring the interconnection between the realms of science and mysticism, the metaphysical and the spiritual. He explores how these three facets are integrated within a global environment and moreover how we, as humans, fit within this complex matrix of thought using the ideas of some of the world’s greatest writers and scholars.

Lentsch works across a variety of media to create an ‘energy of intention’, in which textures, compositions and colours (or their absence) are combined. At first glance, his abstract canvases bring to mind the earthen tones of Kiefer, or the scratched surfaces of Tàpies. Lentsch, however, draws from a broader art historical canon, and painting becomes an extension of the life force around him, a transformative experience through which he can mediate a pure experiential moment. Flowing from a nonverbal intuitive state of creative expression, Lentsch bridges a complex visual language in which colours and textures are lifted from the natural world. On canvas, they are refracted and tessellated, at times put through the process of entropy, which allows for them to be transformed and transmuted. Lentsch starts with a mastic and polymer foundation, before working with stone powders and dry pigments. Here, while the work is still wet, he uses trowels and sticks creating visual interventions. Before encapsulating the work in shellac and various varnishes, each works’ effervescence is enhanced and its distressed surface is developed. Works take on qualities of organic surfaces, such as sandstone or granite, using an intricate network of flecks and dots of pigment to proliferate the densely worked surface. One can imagine soft, snowy landscapes of white and grey or the verdant green of a tranquil overgrown pond or even the harsh dark lines of barren twigs and brush against an autumn landscape. Lentsch’s technique allows for the translation of our natural landscapes into abstract environments. It is the complex relationship between what is known, or the skill and technique, and what is manifested, the interpretation or intuition, that lies at the heart of Lentsch’s painterly

technique. He uses the force of the paint as it is applied to the canvas as a sensory way to connect with the energy of the life force around him. Lentsch’s paintings also use logic existing within nature; for example, the number sequences that comprise the fractals of a snowflake. This ontological approach is spurred by the artist’s interest in Synectics, a methodology that seeks to explore how creativity works by a connecting of dots to reach a higher plane of understanding that encompasses the physical, psychological and symbolic. In this way Lentsch explores links between elemental phenomena and more ethereal, spiritual and magical experiences. Each of Lentsch’s works refers to a particular theory, intellectual, mathematical or spiritual intellection. His titles are not intended to act as complete narratives for individual paintings, but rather to demonstrate their significance as a theoretical foundation where each piece is connected to the other. His work becomes a series of links within a chain creating an intuitive dialogue between the conscious and subconscious ---but pushing toward something further. Just as his paintings make connections between the natural world and abstraction, it is the force of painting that helps him completes the circle. In diving into the canvas Lentsch understands his connection to the beauty and complexity of life that allow him to find freedom and personal empowerment. LONDON 2014 WRITTEN BY GALLERIE KASHYA HILDEBRAND 22 Eastcastle Street, London W1W 8DE, United Kingdom

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here this first, I have never thought of writing for reputation and honor, what I have must come out, that is the reason I compose. Ludvig Van Beethoven

Forward

“Bits & Pieces Put Together to Present a Semblance of a Whole.” I have driven past this enormous sign by Lawrence Weiner at the Walker Art Center innumerous times, and it always reminds me of the Singularity of artistic expression. The principle of Singularity is best explained as the continuity of a unique purpose within a multitude of diverse tasks and information. Synectics is the infinite potential of connecting the dots within this matrix and suggests the path to exponential knowledge. In my process and use of materials, I find a connection between the most elemental phenomena of the universe and magical experiences that articulate something very precious in our connection to things around us. In Chinese Philosophy it is said that as you take on the attributes of the things you focus your attention on, you acquire the power that underlies them. This is what I refer to as “Defining Synectics.” In William J.J. Gordon’s book, The Development of Creative Capacity, synectics is characterized as a problem solving approach that stimulates through processes of which the subject is generally unaware. Gordon encapsulates this method as “Trusting things that are alien, and alienating things that are trusted.” In my

work, paintings are often paired with titles that attempt to clarify this idea of synectic reasoning by connecting the vast matrix of complex relationships between science and mysticism, the metaphysical and the spiritual. Like one magical discovery after another, each painting progresses from a fresh combination of colors and textures as they might exist in nature as refraction, tessellation, or as a phenomenon of entropy. It is an infinite power that eludes me in its vastness as I observe nature and ponder the workings of the universe. My painting is based on the preponderance of opposites, and the fusion of elements as I contemplate the principles that govern this dynamism. In 1958, Stanislaw Ulam wrote in reference to a conversation with John von Neumann, “One conversation centered on the ever accelerating progress of technology and changes in the mode of human life, which gives the appearance of approaching some essential singularity in the history of the race beyond which human affairs, as we know them, could not continue.”

In his book “Mindsteps to the Cosmos” (Harper Collins, August 1983), Gerald S. Hawkins elucidated his notion of ‘mindsteps’- dramatic and irreversible changes to paradigms or world views. He identified five distinct mindsteps in human history and the technology that accompanied these “new world views”- the invention of imagery, writing, mathematics, printing, the telescope, rocket, computer, radio, and TV. “Each one takes the collective mind closer to reality, one stage further along in its understanding of the relation of humans to the cosmos.” He noted, “The waiting period between the mindsteps is getting shorter. One can’t help noticing the acceleration.” “Hawkins’ empirical ‘mindstep equation’ quantified this, and gave dates for future mindsteps. The date of the next mindstep (5; the series begins at 0) is given as 2021, with two more successively closer mindsteps until the limit of the series in 2053. His speculations ventured beyond the technological: The mindsteps appear to have certain things in commona new and unfolding human perspective, related inventions in the area of memes and communications, and a long formulative waiting period before the next mindstep comes along. None of the mindsteps can be said to have been truly anticipated, and most were resisted at the early stages. In looking to the future, we may equally be caught unaware. We may have to grapple with what is presently inconceivable, with mind- stretching discoveries and concepts.”

This process might continue exponentially, with ever more intelligent machines making larger increments to the intelligence of the next machine (this process is referred to as Recursive self improvement). I. J. Good (born Isadore Jacob Gudak ) described this as an “intelligence explosion”. This book sets out to explain my vision for the next great art movement which is just that- “an intelligence explosion”...a new vocabulary...a new kind of science...

Appolonius 14

2014 86 x 120 inches

Black and white, liquid and powder, hot and cold are among the fundamental elements in my process of painting. I continually strive for the ultimate quality and novelty of surface and texture. Pushing the envelope in the manipulation of materials and their applications is a critical part of the integration of philosophy and technique for me, as I combine the ‘best of the old’ with the ‘best of the new’ attempting to realize a new construct in painting. Varnishes, shellacs, polymers, porcelain-powders, hot pots with beeswax, charcoal, and tempera, all add to the amalgamation of these elements. This concept includes a cognitive approach to process and technique in painting, while allowing for a spiritual expansion through its relative interconnectedness and expression. I feel that this process is like the quantum field; a probability amplitude of an event or thought within a state of anticipation or observation. In fact the anticipation can actually manifest the observation and this is where the idea of real magic, in terms of intention and inspiration, comes from. For the past 20 years, I have set out with the singular intention to create one thousand titles, each connecting things of an esoteric nature of both fact and legend, through fiction and history. The idea is to connect people to information of a collective spiritual expression, existing in both the phenomena of nature, as well as esoteric subjects relative to ancient mysticism, historical scientific facts, contemporary quantum mechanics including the unified field, and, what is now referred to as, Noetic Science. My anticipation was that these topics and ideas would become more mainstream and relevant to the contemporary thinker of the 21st century as the first 10 years of this new century unfolded through sort of a ‘mind-map of consciousness’ or ‘six degrees of separation’, and most importantly, ‘exponential knowledge’ (the idea that there would be more change and growth of scientific knowledge in this first decade than the last 100 years of the preceding century). My principle idea was to connect information to my work through a collection of titles and thereby link it to the experiential knowledge obtained through a kind of treasure map and data model of what, in my estimation, is profound knowledge; thus, becoming in step with what modern physicists call the ‘harmonic convergence’. Consequently, a more relative ‘super-consciousness’ of human expression would be defined, allowing viewers to tap into this expansive collective unconscious. I consider my painting to be purely Gestural Abstraction but within the context of Abstract Expressionism or even Mystical Expressionism. The essence of my practice is one of mind, body, and spirit. As much of a cliché as that may seem to be, it is still relevant. The subject narrative is intended to create a new vocabulary that cumulatively searches to find connections between things I believe to be significant and therefore, the paintings acquire their own thread of individual expression with the larger picture in mind. While the primary emphasis is on the painting as its own unique experience and my process in creating it, each painting, through its title, builds upon a larger vocabulary that references history and origin, whether that be cultural, scientific, theological, metaphysical, etc.

The paintings themselves are not trying to objectively describe or attach themselves to any particular narrative except with symbols and subjects through the titles for people to discover on their own. The mystery of the meanings is left to the individual and how they interpret the imagery as it relates to, not just the single title of the individual piece, but rather its larger connection to the body of work. I think of it as a data model of 103 ( a thousand points of contact- ten times ten times ten). A data model is best exemplified through a system like Wikipedia, Google, or the Human Genome project and Steven Wolfram’s ‘Mathematica’ probably best illustrates this new kind of science. Noetic science, another common theme in my work, is the science of measuring thoughts and energy, best known for the “Intention Experiment” and “28 Grams”. I see this as relevant to the ‘intention’ in painting. In my work “The XOI Principle” I discuss ‘cellular rejuvenation’ and the significance of the number 55 (known by Mystics to be the sign of the “double dragon”). The basic formula-grid for XOI Diagram has 55 points (like bowling pins 1 stacked on top of 2, and 2 on 3 etc.) until the tenth row, and each row is the progression of numbers from 1 through 10. There are 55 total points of reference and 100 total possible connection lines between the points of the grid. Thus, a 10x10 triangular grid is manifested from the 1-55 fixed points. There is also added significance of this number 55, as it is the tenth number of the Fibonacci sequence. I have come to the conclusion that art is a multi-dimensional formation of complex relationships and that, ultimately, the ‘intention’ produces an object. In fact, the value of the object lies in its ability to be something unique and remarkable as an object. To me, art is the expansive vision of a dynamic purpose, combined with the skillful intention of our craft that reveals a true potential. This potential suggests all possibilities, and is the essential driver in our ability to make constant and continuing improvements to our work. Pythagoras is believed to have coined the words “philosophy” (love of wisdom) and “mathematics” (that which is learned). I believe that as words define those things that are most important to our definition of self, art is the translation of those same but most important definitions. The complex equation that we refer to as art is still governed by its definition, “skill acquired by experience or study; the use of skill and imagination in the production of things of beauty” (Webster’s Dictionary). I believe that art must be an inspired creation of those things that have great purpose and genuine beauty, and because these things are not only physical but also spiritual and intellectual, we must qualify whether these things do in fact reflect that greatness.

Oil of Neroli 2012 路 66 x 88

History tells us anything worth doing that borders greatness, has its time filled with the excruciating pain that accompanies total failure and defeat. Itâ&#x20AC;&#x2122;s in these very times that people of remarkable consequence, reinvent themselves again and again! My work is a testament to the stories left behind from the great masters that through the centuries have raised the bar for others to see ever more unlimited possibilities for human achievement. EDWARD LENTSCH Waterstone of the Wise 2007- 76 x 54 inches

Reckless the recluse reasoned his way to remarkably remember reinventing himself, and as he reflected upon the renewal of his invention he came across what he had almost forgotten, Hope

intrinsic motivation

Scientists have recognized the importance of intrinsic motivation for decades. In the 1970s, Mark Lepper, David Greene and Richard Nisbett conducted a classic study on preschoolers who liked to draw. They divided the kids into three groups. The first group of kids was told that they’d get a reward — a nice blue ribbon with their name on it — if they continued to draw. The second group wasn’t told about the rewards but was given a blue ribbon after drawing. (This was the “unexpected reward” condition.) Finally, the third group was the “no award” condition. They weren’t even told about the blue ribbons.

After two weeks of reinforcement, the scientists observed the preschoolers during a typical period of free play. Here’s where the results get interesting: The kids in the “no award” and “unexpected award” conditions kept on drawing with the same enthusiasm as before. Their behavior was unchanged. In contrast, the preschoolers in the “award” group now showed much less interest in the activity. Instead of drawing, they played with blocks, or took a nap, or went outside. The reason was that their intrinsic motivation to draw had been contaminated by blue ribbons; the extrinsic reward had diminished the pleasure of playing with crayons and paper. (Daniel Pink, in his excellent book Drive, refers to this as the “Sawyer Effect.”) Pink defines the Sawyer Effect as “practices that can either turn play into work or work into play,” after Tom Sawyer, who tricked his friends into painting a fence for him by convincing them it was fun.

From Jonah Lehrer, an illustration of the power of intrinsic motivation — the desire to do a thing because you enjoy it, rather than for any extrinsic reward like a paycheck:

The Sawyer Effect for Daniel Pink

2012- 120 x 80 inches

Conversations With God 2009- 84 x 132 inches

from the previous page Conversations with God 2006 · 86” × 132”

The Code 2005 · 65” × 55”

Sculpture Installation by Coleman Miller (for the Room of Requirement)

Reincarnation 2000 · 96” x 76” x 8”

Wood Sculpture by Edward Lentsch

The Eleusinian Mysteries were the most famous of the secret religious rites of ancient Greece. They consisted of the Lesser Mysteries and the Greater Mysteries. These were ceremonies for the cult of Demeter and Persephone based at Eleusis in ancient Greece. Of all the mysteries celebrated in ancient times these were held to be the ones of greatest importance. The Lesser Mysteries were held annually and it is known that these contained rites of cleansing. The Greater Mysteries were held every fourth year. They included a week of special rites, culminating in the Great Mystery rites that took place inside the Temple of Demeter. These myths and mysteries later spread to Rome. The rites and cultic worships and beliefs were kept secret, and initiation rites united the worshipper with god including promises of divine power and rewards in life after death.

Eleusinian Mysteries Part IV 2014 路 66 x 88 inches

Bernoullis Principle 2014 55 x 45 inches 38

Magus 2014 路 100 x 80 inches

Eleusis

2015- 42 x 70 inches

After Coltrane’s death, a congregation called the Yardbird Temple in San Francisco began worshipping him as God incarnate. The group was named after Parker, whom they equated to John the Baptist.[41] The congregation later became affiliated with the African Orthodox Church; this involved changing Coltrane’s status from a god to a saint. [41] The resultant St. John Coltrane African Orthodox Church, San Francisco is the only African Orthodox church that incorporates Coltrane’s music and his lyrics as prayers in its liturgy.[42] 42

Coltrane

2010 · 112 x 86 inches

Samuel G. Freedman wrote in a New York Times article that “the Coltrane church is not a gimmick or a forced alloy of nightclub music and ethereal faith. Its message of deliverance through divine sound is actually quite consistent with Coltrane’s own experience and message.”[41] Freedman also commented on Coltrane’s place in the canon of American music: In both implicit and explicit ways, Coltrane also functioned as a religious figure. Addicted to heroin in the 1950s, he quit cold turkey, and later explained that he had heard the voice of God during his anguishing withdrawal. [...] In 1966, an interviewer in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, “A saint.”

Simplicius, Constantius and Victorinus (Italian: Simplicio, Costanzo e Vittoriano) are venerated as Christian martyrs of the 2nd century.

Companions of Simplicius 2014- 100 x 80 inches

In the presence of the emperor, the three saints refused to abjure their faith, and were tossed into a chamber filled with snakes and scorpions, but they emerged unharmed due to the intercession of an angel. They were then condemned to be torn apart by four maddened heifers, but these beasts refused to move. Finally, on August 26, 159, they were beheaded at Celano, at a spot called Aureum fontem (â&#x20AC;&#x153;Golden Springsâ&#x20AC;?), identified by the writer of the Passio as the future site of the church of San Giovanni Vecchio in Celano, with the spring eventually becoming known as S. Ioannis in capite acquae.[1] After the death of the three saints, an earthquake shook the town and one of the executioners was converted to Christianity, with the deacon named Florentius, a witness to the event, writing down and passing down the news of their deaths.

Lady of the Mountain 2012 · 66 x 88 inches

The “Lady of the Mountain” (Fjallkonan) is the female incarnation (national personification) of Iceland. While she symbolised what Icelanders considered to be genuine and purely Icelandic, in her purity she reflected a deep-seated, but unattainable, wish of Icelanders to be a totally independent nation.[citation needed] Fjallkonan is thus not only a national symbol, she also represents the national vision, the nation’s ultimate dream

The Confucianist

2014 路54 x 62 inches

the system of ethics, education, and statesmanship taught by Confucius and his disciples, stressing love for humanity, ancestor worship, reverence for parents, and harmony in thought and conduct.

Eleusinian Mysteries Part II 2014 路 50 x 80

Knossos

2015- 70 x 90 inches

In Greek mythology, King Midas dwelt in a palace at Knossos. He had Daedalus construct a labyrinth (by some connected with the doublebladed axe, or labrys) in which to retain his son, the Minotaur. Daedalus also built a dancing floor for Queen Ariadne (Homer, Iliad 18.590-2). The name â&#x20AC;&#x153;Knossosâ&#x20AC;? was subsequently adopted by Arthur Evans because it seemed to fit the local archaeology. The identification has never been credibly questioned, mainly because of that archaeology. Western civilization was thus predisposed by legend to associate whatever palace ruins should be found at Knossos with the legends of Minos and the labyrinth.

Raymundus Lullus

1232[2] â&#x20AC;&#x201C; c. 1315; Anglicised Raymond Lully, Raymond Lull; in Latin Raimundus or Raymundus Lullus or Lullius) was a Majorcan writer and philosopher, logician and a Franciscan tertiary. He is credited with writing the first major work of Catalan literature.[3] Recently surfaced manuscripts show him to have anticipated by several centuries prominent work on elections theory. He is also considered a pioneer of computation theory, especially given his influence on Gottfried Leibniz.

Raimundus Lullas 2014- 50 x 80 inches

Aristophanes Peace 2015- 46 x 46 inches

Hypothesis Non Fingo 2015-52 x 50 inches

The Idea of the Century 2009 · 80” × 60”

Amsterdam

2008- 48 x 75 inches

Book of the Abacus Liber Abaci (1202, also spelled as Liber Abbaci) is a historic book on arithmetic by Leonardo of Pisa, known later by his nickname Fibonacci. Liber Abaci was among the first Western books to describe Hinduâ&#x20AC;&#x201C;Arabic numbers traditionally described as "Arabic Numerals". By addressing the applications of both commercial tradesmen and mathematicians, it contributed to convincing the public of the superiority of the new numerals. 62

The title of Liber Abaci means "The Book of Calculation". Although it has also been translated as "The Book of the Abacus", Sigler (2002) writes that this is an error: the intent of the book is to describe methods of doing calculations without aid of an abacus, and as Ore (1948) confirms, for centuries after its publication the algorismists (followers of the style of calculation demonstrated in Liber Abaci) remained in conflict with the abacists (traditionalists who continued to use the abacus in conjunction with Roman numerals).

Liber Abaci

2012-14- 60 x 50 inches

Primal Field of Nature 2014 80 x 100 inches

Mastery of Teâ&#x20AC;&#x2122; Part V 2009- 50 x 90 inches

Seasons of the Mind 2011路 60 x 100 inches

Cyclades 72

2004 · 76” × 54”

Strophyas 2004 · 76” × 54”

Scimitar Shaped Estuary 74

2013 路 76 x 42 inches Nag Hamadi 2011- 60 x 50 inches

in·tel·lec·tion noun the action or process of understanding, as opposed to imagination.

Imago Exegitica

2014- 55 x 45 inches

imago The dynamic processes of the mind operate by way of images generated in the id and the superego that are presented to the ego. (Recalling dreams gives us perhaps the clearest picture of what these representations are like.) Imago is the Latin word for image that Freud, and later Lacan, sometimes use for these mental representations. The ideal ego is the example of an imago that Freud discusses in “On Narcissism”.

In Chinese Philosophy it is said that as you take on the attributes of the things you focus your attention on, you aquire the power that underlies them.

Neath Ancient Roselin Waits 2013 - 90 x 70 inches each

Karauva 2013 路 80 x 50 inches 82

Phaestos 2014 路 100 x 80 inches

Songs of Destiny Part I 84

Songs of Destiny Part II 2015 路 72 x 30 inches

EXHIBITIONS (partial list)

International Art Fair Exhibitions

2015 Scope Miami 2015 SCAPE Corona Del Mar/Newport Beach, CA 2015 Dallas Fine Art Fair 2014 Abu Dhabi Int’l Fine Art Fair 2014 KFIAF Seoul South Korea 2013 Costello Childs Scottsdale 2012-14 Art Aspen 2012 Art San Diego 2012 Palm Springs International Art Fair 2012 Art Hamptons 2011 Art San Diego 2011 San Francisco Fine Art Fair 2010 Art Hamptons 2005 Art Chicago Navy Pier, Chicago, IL 2003 Art Chicago, Julie Baker Fine Art, Grass Valley, CA 2002 Palm Springs International Art Fair, Palm Springs, CA 2000 Palm Springs International Art Fair, Palm Springs, CA Gallery Exhibitions

2010 Tobi Tobin, Los Angeles 2010 The Edge, Santa Fe 2010 Costello Childs Gallery Scottsdale 2010 Budwell Middle East Muscat, Oman 2010 “Paradigms and Paradoxes” Forré and Co. Aspen, CO 2009 “The Iridescence of Lepodoptera” Lanoue Fine Art, Boston, MA 2009 “The Alchemist” Ogilvie Pertl Gallery, Chicago, IL 2009 Madison Gallery, La Jolla, CA 2009 Zane Bennett, Santa Fe, NM 2009 Zane Bennett, Art Chicago 2008 Gallery Moda, Santa Fe, NM 2008-09 Onessimo Fine Art 2008 Ogilvie Pertle Gallery, Chicago, IL 2007-2008 “Return to the Source OK Harris Works of Art, New York, NY” OK Harris Works of Art, New York, NY 2007 “Lesson’s From the I Ching” Onessimo Fine Art, Palm Beach Gardens, FL 2007 “Remembering Atlantis” Eleonore Austerer Gallery, Palm Desert, CA 2007 Hernandez Contemporary, Scottsdale, AZ 2007 Ogilvie/Pertl Gallery, Chicago, IL 2007 Gallery Moda, Santa Fe, NM 2006 “The Saffron Adhara” Lanoue Fine Art, Boston, MA 2006 “Modern Masters, Santa Fe, NM 2006 Hernandez Contemporary, Scottsdale, AZ 2006 Modern Masters Fine Art, Palm Desert, CA 2005 Flanders Gallery, Minneapolis, MN 2004 Elizabeth Edwards Fine Art, Palm Desert, CA 2004 Flanders Gallery, Minneapolis, MN MEDIA AND PUBLICATIONS 2014 Cover Luxe Magazine Southern California 2013 Harpers Bazaar Magazine Japan 2013-2014 TV show Million Dollar Listing 2010 Music Video recording artist Enrique Iglesias “I Like It” 2010 Music Video recording artist Ne-Yo “Champaign Life” 2012 Elle Décor Magazine 2011 Angelino Magazine LA 2010 LA Times 2010 Palm Springs Life 2007 Art in America 2006 Palm Springs Life

Bibliography (for title origins)

The Ancient Secret of the Flower of Life: Volume 1 by Drunvalo Melchizedek The Ancient Secret of the Flower of Life: Volume 2 by Drunvalo Melchizedek The Bible Code by Michael Drosnin The Dancing Wu Li Masters by Gary Zukav The Dead Sea Scrolls by G. Vermes The Divine Proportion by H.E. Huntley Divine Proportion: Phi In Art, Nature, and Science by Priya Hemenway Egyptology: search for the Tomb of Osiris by Candlewick Press The Elegant Universe by Brian Greene The Emerald Tablets of Thoth the Atlantean translation and interpretation by Doreal The Fourth Turning An American Prophecy by William Strauss and Neil Howe God and the New Physics by Paul Davies God is a Verb by David A Cooper The Golden Ratio: The Story of PHI, the World’s Most Astonishing Number by Mario Livio How to Know God by Deepak Chopra The I Ching or Book of Changes by Brian Browne Walker Living in the Heart: How to Enter into the Sacred Space Within the Heart by Drunvalo Melchizedek Mathematics from the Birth of Numbers by Jan Gullberg Morphic Resonance & the Presence of the Past by Rupert Sheldrake Multiple Intelligences by Howard Gardner The Mystery of Aleph by Amir D. Aczel A New Kind of Science by Stephen Wolfram The Power of Intention by Dr. Wayne Dyer The Road to Reality by Roger Penrose Sacred Geometry: Deciphering the Code by Stephen Skinner Sacred Geometry: Philosophy and Practice (Art and Imagination) by Robert Lawlor Sacred Geometry (Wooden Books) by Miranda Lundy The Tao of Physics by Fritjof Capra Wizardology: The Secrets of Merlin by Candle

Press (Includes references for painting titles) The Code Book by Simon Singh Six Not So Easy Pieces by Fritjof Capra The Principia by Isaac Newton Angels and Demons by Dan Brown The DaVinci Code by Dan Brown The Dead Sea Scrolls by G. Vermes And the Sea is Never Full by Elle Wiesel The Soul of a Butterfly by Muhammad Ali and Hana Yasmeen Ali The Notebook of Leonardo DaVinci by Edward MacCurdy Creating Affluence: A to Z Steps to a Richer Life by Deepak Chopra Inspiration: Your Ultimate Calling by Dr. Wayne Dyes The Celestine Prophecy: An Adventure by James Redfield The Lost Symbol by Dan Brown The Transformational Book Circle SeriesThe Yoga of Spiritual Devotion: Narada Bhakti Sutras by Prem Prakash The Book of Life: The Master-Key to Inner Peace and Relationship Harmony edited and interpreted by Gay Hendricks and Philip Johncock Siddhartha an Indian Tale by Hermann Hesse The Essential Alan Watts: Seven Things We Thought We Knew About God and the Cosmos (But Didn’t) by Alan Watts The Power of a Single Thought: How to Initiate Major Life Changes from the Quiet of Your Mind revised and edited by Gay Hendricks and Debbie DeVoe Divine Magic:The Seven Sacred Secrets of Manifestation revised and edited by Doreen Virtue, Ph.D. What Dreams May Come by Richard Matheson Touching the Divine: How to Make Your Daily Life a Conversation with God edited and interpreted by Gay Hendricks and James Twyman The Creative Pocess: Reflections on Inventions in the Arts and Sciences edited by Brewster Ghiselin

“My paintings are derived from a source of contemplation and fascination with the wonders of an awesome logic that exists in nature,” Lentsch explains. For Lentsch, “As words define those things that are most important to our definition of self, art is the translation of those same but most important definitions.”

Lentsch is an artist, author, architectural builder, designer, inventor, and entrepreneur. He resides in Minneapolis, Minnesota and works out of his studio located in Minneapolis. Lentsch is also the founder of Artist League Studios, a Minneapolis based think-tank/studio for emerging artists.

Acknowledgements Many thanks to the many galleries I have had the opportunity to work with through the years, it’s with great appreciation for your commitment, support and friendship. Also to my assistant Casey Fredlund for his awsome attitude dilligent work ethic and amazing enthusiasm. and always my Debbie, Sarah and Theo. © 2015 Edward Lentsch and Morning Light Studios All Rights Reserved