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Long fascinated with the painting of De Chirico, Diebenkorn, and Bacon — and the philosophical musings of Deleuze, Nietzsche, and Bergson — the work of Timothy Uriah Steele is a delicate dance in the grey areas of reality and metaphysics, digital and analog culture, and the spaces where the psychedelic becomes manifest. In his ever-evolving series of magico-religious landscapes Steele merges the aired coastal environments of his Southern California hometown with his use of gradient auto paint techniques into a series of mythopoetic tableaux whose hallucinogenic color fields become "activated" by the addition of charged actors and objects, including but not limited to, the mescaline-producing San Pedro cactus, crosses, pyramids, and a recurring pink doll. The latter is an androgyne, which in Steele’s paintings pertains to the Alchemical androgyne of lore that symbolically represents the communion of opposites like fact and fiction.