Gaia is an oil painting by Albuquerque artist KD Neeley

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Gaia is a metaphysical realism painting of the Earth depicted as a womb bearing life. 34" x 34" inches, oil on canvas. 

The Original is available for purchase, contact me for inquiry. 

This isn't just a metaphor, it is true and this child will die without interference. The world is a being. A being is made of beings within beings. We are all crawling with them. They live on us and in us. They make us sick and they keep us alive. What will become of us? What will we become? What are we birthing together? 


I think that eating is the most intimate relationship that we each have. As a friend of mine once said, "You are what you don't shit." I laughed and laughed. 


It doesn't begin with our mother's breastmilk. It begins with everything she ate while we grew inside of her, and even before we had a place to grow it began with everything she was fed before we came into being. Nothing is more intimate than eating. Eating is our first and truest love. Hunger is our first desire. Food is the real economy of culture. Food is the primary influence behind everything we do and everything we affect. 


Once you are conscious of this reality you can change and empower yourself by transforming your decisions based on the nature of cause and effect.

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The Crucible is an oil painting by Albuquerque artist KD Neeley


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'The Crucible' is a metaphysical realism painting by Albuquerque artist KD Neeley.

This is a love story. Romance takes place in a metaphysical crucible, a kiln, a furnace. Lovers are in a fire together, melting into each other and changing one another as they discover each other and themselves. Each person pulls their lover into themself and is transformed by that new material. This kiln is also Plato's cave and we can only see shadows of each other flickering in the light of our experiences together. This interaction is a journey for each person and all stillness is an illusion. Everything is in motion. Everything is changing and reacting and being recreated and transformed. In the end, we become the ashes of stardust. 


Our children play on the outskirts of our influence, creating new things from the debris of adults. 

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Click to enlarge Elephant by KD Neeley

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Elephants are beautiful. They are like trees that walk and think and cry out. They're like an outer cortex that became a mountain and lived. Majestic, sacred, somehow...holy. 

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Closer is an oil painting by Albuquerque artist KD Neeley

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I was in the garage. I stood up. I saw those lovely stars and passed out on the cement. When I woke up this, whatever it is, is what I was looking at. I don't know how to articulate what it means to me yet but I remember what I felt like when I was looking at it. My whole body was tingling. I was too dizzy to stand but I slowly sat up. As I sat up I had the sense of all the tiny hairs on my skin pulling up from the ground like roots. The sun was also a mind that was also infinite and we are pulling ourselves toward it like this.

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This piece was inspired by the song 'Walk on the Ocean' by Toad The Wet Sprocket. Some of the lyrics go, "Walk on the ocean, step on the stones, flesh becomes water, wood becomes bone" but what I always heard was, "Walk on the ocean, step on the storm, flesh becomes water, war becomes born." 

At the time I was also being inspired by pictures from the Venetian Carnival and I have always loved crows and ravens. I think I was also influenced by one of Madonna's music videos, 'Frozen', which I had actually seen while I was deployed in Iraq. It was on the share drive. I watched it over and over again. It's only just now that I notice the influence. So these, along with The Fool, were lurking in my subconcsious mind and came out in this piece. 

I wonder if one day we'll have technology that can analyze drawings and paintings and sketches and deduce all of the cultural influences that made their way into the artist's mind. 

Ascension of the Soul Triptych by KD Neeley

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View full Triptych

I think of death as an ascension into the womb of the Earth.
I had three small canvases and I wanted to use them to play with color. I had acrylics. I wondered what would happen if I baked the paintings after I played with them. Ignore for the moment that I was an absolute idiot to put paintings in my kitchen oven and bake them. There was a smell. I didn’t leave them in long enough to turn black or catch fire. I pulled them out bubbling. Ignore for the moment that I was an absolute idiot for not at least wearing a respirator. I was mesmerized by the boiling patterns that had emerged.
The patterns reminded me of fractal tangles of roots. I stacked the paintings and began making a tree, going over the little calderas with oils, tracing the observations that became what you see.

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