Dreamwalk began in 2002 as a series of nightly dreams containing various abstracted, slightly haunting landscapes. The first dream had a darkly intense, stark horizon line with storm clouds in the sky, with an animated bigger-than-life Snoopy and Charlie Brown fighting, comically tumbling over each other (with cartoon dust kicking up), along this realistic, somber backdrop. The juxtaposition was both haunting and humorous. (This became “Solace” and “Stormy Passage,” but without the Charlie Brown characters.) The second dream was another somber, intensely stark landscape superimposed with abstracted lines and images that represented trips I taken in the past, and all the unfinished emotions they still contained. (This became “Trying to Recall” and “Ripe.”) I was intrigued by the dreams’ moods as well as the visual images, and attempted to reconstruct them on canvas. I didn’t actually succeed at capturing them, but the paintings became their own thing, and took on a life of their own.

Some paintings didn’t come from dreams, but from waking experiences that seemed to blur and dissolve the line between 3D waking life and the multidimensionality of dreamtime, between the literal and the mythic. (“Sweat Lodge,” “A Day in a Buddhist Temple,” “Haven,” “On That Day.”) These waking experiences, even though they didn’t occur during lucid dreams or sleep time, were still borne of the same stuff, arriving at the same non-linear space, which I have dubbed in my personal lexicon as dreamwalking.

Main influences: Lucid dreaming. Daydreaming. North and South American Indian shamanism. Celtic spirituality. Buddhism. Hinduism. That which can’t be seen or measured, where it meets the senses. Nature. Multidimensionality. Nonlinear spaces. David Park. Richard Diebenkorn. Landscape painters.


© 2014 Jan Zoya. All rights reserved.