Meditation, for Lynch, is a means for unlocking creativity and finding maximal joy in artmaking. He spoke of the expanding “ball of consciousness” and the “bank vault” of “gold” that meditation can help individuals access. “Negativity is just like darkness,” Lynch said. “Then you say, ‘Wait a minute, darkness isn’t really anything. It’s just the absence of something.’ Sunlight removes darkness, but it doesn’t remove negativity. So you say, ‘What light would remove negativity just like sunlight removes darkness?’ And the answer is that light from the transcendent, that light of pure consciousness, that light from the treasury within. You start enlivening that, turning that light on, and automatically, negativity starts to go.” Even this line of conversation generated strange images and half-narratives.
In most of his paintings, Lynch toys with language, conversing with his viewers via hand-scrawled words. Yet two canvases, perhaps the most personal and poignant, feature no text at all. Childhood Painting #1 (2019), which extends to 7 by 10 feet, features a house, barn, tree, and field rendered in loose lines that evoke childhood drawings of home. The murky, brushy sepia tones suggest memory itself. Red Idaho with Seed Pod (2019) is a spare gray canvas overlaid with pictures of the titular elements. Lynch himself used to live in Boise. His father was in charge of the Boise National Experimental Forest in Idaho City, working for the Department of Agriculture. One weekend, Lynch and his father planted 500 trees.