Although Orduno explores the conceptual precepts of the abstract expressionists - the intrinsic conviction that the canvas serves as an arena for a dance of spontaneity, and the act of painting is one of self-creation and revelation - his images evolve beyond representative form. They emerge from the original source into the figurative, energized by a spectacular and highly-aesthetic mastery of color. Because his work represents a bridge between ancient personal mythology and the metaphorical memory contained within all cultures, Orduno is on the leading edge of a historical lineage of artists who create a visual dance into the deep darkness of what Jung identified as "the collective unconscious."

Orduno explains, "in my paintings, Pueblo Indian and Plains Indian cosmology is absorbed into the vast territory of collective mythology, the images integrate into the surface and redefine themselves. Thus ancient symbolism, petroglyphic visions, the rhythmic essence of ceremony, and the magnetic power of dance evoke a systematic response to the prehistoric knowledge contained within us all. I'm further moved by the underlying pulse of primal music - the heartbeat of the drum and the trance-inducing power of rattles and repetitive sound.

"When the ancient ones chant to me, I listen. My body becomes a vehicle for the dance and I abandon myself to the process, the journey of painting. I cross the abyss, the continual uncertainty of creation and re-creation creates the dynamic tension. I was born with a connection to the essential spirit of things. It's in my blood. I am not struggling for "art for art's sake", there is a purpose. I am going into the collective myth and recreating it in the moment, pulling it out to the other side. And when the old ones cease to speak, the dance comes full circle."

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