It starts with watching the pan too close.  The fluorescent lights up above the stove reflect the surface tension in clear white lines, and the shapes are reminiscent of the primal coming together of the chaos of the universe.

Then, the software for using a digital image as if in a darkroom with a negative and, as Ansel Adams said, "using the negative as a conductor would use the score for directing the symphony."

                                                         As a fractal enthusiast, and admirer of chaos theory and the Mandelbrot set, I couldn't help but jump into some of the vortexes created by even the smallest amount of dry matter sticking above the surface of the soup.  These patterns, which are recognized in other cultures, too, as 'Ur-patroon" by Feininger, or Li by Chinese artists...the repetitive but always changing shapes  morphing, yet following some constants that create patterns on several dimensions simultaneously.  I'm no mathematician, nor scientist, nor physicist, but the underlying harmonies, beauty, and shapes found in the art of our ancestors because they do follow the forces of the Tao, these visual clues that this miracle we call our universe is so magnificent in every detail.                                                        

The patience and openness to experience new paradigms, new perceptions of reality, new entrances to other explanations, is what drives my photography, my image making, and sometimes, even art.