Partially inspired by a visit to the North Carolina home of fellow artist Leslie Folksman, An Egg Named Moses presents a dreamlike landscape in which familiar elements of nature mingle with objects that seem strangely out of place.
At the center of the painting, an egg rests within a tangle of branches above the water—something fragile and full of possibility, held in an unlikely place. Along the shore, almost hidden among the reeds, lies a medicine bottle. For the artist, this small object carries particular significance. It symbolizes God's perfect timing and the recurring experiences he describes as “transcoincidences”—moments when people, places, objects, and events converge with such extraordinary precision that coincidence alone seems inadequate to explain them.
The medicine bottle becomes a quiet reminder that sometimes what appears misplaced may actually be exactly where it needs to be. We encounter one another at particular moments. We arrive in particular places. Something seemingly insignificant enters our path—and only later do we understand its importance.
Throughout An Egg Named Moses, the natural and mysterious coexist. The egg, branches, water, changing landscape, scattered threads of color, and discarded bottle suggest a world filled with connections that are not immediately visible.
The painting asks us to consider the possibility that our lives unfold not only through movement across space, but through our placement within time—and that occasionally we are given a glimpse of an order operating beneath what we ordinarily call chance.
