I Knew You

I Knew You

Psalm 139 The Passion Translation (TPT)

You Know All About Me

139 For the Pure and Shining One
King David’s poetic song

Lord, you know everything there is to know about me.
You perceive every movement of my heart and soul,
    and you understand my every thought before it even enters my mind.
3–4 You are so intimately aware of me, Lord.
    You read my heart like an open book
    and you know all the words I’m about to speak
    before I even start a sentence!
    You know every step I will take before my journey even begins.
You’ve gone into my future to prepare the way,
    and in kindness you follow behind me
    to spare me from the harm of my past.[a]
    With your hand of love upon my life,
    you impart a blessing to me.
This is just too wonderful, deep, and incomprehensible!
    Your understanding of me brings me wonder and strength.[b]
Where could I go from your Spirit?
    Where could I run and hide from your face?
If I go up to heaven, you’re there!
    If I go down to the realm of the dead, you’re there too!
If I fly with wings into the shining dawn, you’re there!
    If I fly into the radiant sunset, you’re there waiting![c]
10 Wherever I go, your hand will guide me;
    your strength will empower me.
11 It’s impossible to disappear from you
    or to ask the darkness to hide me,
    for your presence is everywhere, bringing light into my night.
12 There is no such thing as darkness with you.
    The night, to you, is as bright as the day;
    there’s no difference between the two.
13 You formed my innermost being, shaping my delicate inside
    and my intricate outside,
    and wove them all together in my mother’s womb.[d]
14 I thank you, God, for making me so mysteriously complex!
    Everything you do is marvelously breathtaking.
    It simply amazes me to think about it!
    How thoroughly you know me, Lord!
15 You even formed every bone in my body
    when you created me in the secret place,[e]
    carefully, skillfully shaping me[f] from nothing to something.
16 You saw who you created me to be before I became me![g]
    Before I’d ever seen the light of day,
    the number of days you planned for me
    were already recorded in your book.[h]
17–18 Every single moment you are thinking of me!
    How precious and wonderful to consider
    that you cherish me constantly in your every thought!
    O God, your desires toward me are more
    than the grains of sand on every shore!
    When I awake each morning, you’re still with me.
19 O God, come and slay these bloodthirsty, murderous men!
    For I cry out, “Depart from me, you wicked ones!”
20 See how they blaspheme your sacred name
    and lift up themselves against you, but all in vain!
21 Lord, can’t you see how I despise those who despise you?
    For I grieve when I see them rise up against you.
22 I have nothing but complete hatred and disgust for them.
    Your enemies shall be my enemies!
23 God, I invite your searching gaze into my heart.
    Examine me through and through;
    find out everything that may be hidden within me.
    Put me to the test and sift through all my anxious cares.
24 See if there is any path of pain I’m walking on,
    and lead me back to your glorious, everlasting ways—
    the path that brings me back to you.

Clap Your Hands

Clap Your Hands, Acrylic Paint on Canvas, 37″ x 27″

A more expressive representation of the spiritual, Clap Your Hands, speaks of the vibrancy, resonance and exuberance of Love. Knapp composed this painting in a shorter period of time than other works in this body, creating an environment for a more gestural, textural technique.


Convergence, Acrylic and Oil Paint on Canvas, 60″ x 36″

Convergence describes the act or instance of meeting. Knapp uses abstraction of fire and celestial phenomena to describe a meeting of two realms. Physical and spiritual collide in this textural and gestural painting.


This painting marks a shift toward both alternative elements and the abstract.  Although this piece still contains a figure and is marked with a narrative feel, the scale and focus of this painting focuses on the abstraction and the falling water abstraction.

Part of the private collection of Justin and Rachel Eldred.

e pluribus unum (remixed)

Still from e pluribus unum (remixed)2013.

e pluribus unum (remixed) takes the previous project and extends it conceptually by introducing interaction and new media.  Introducing video that records the physical act of painting on canvas and writing on board remediates the previous digital painting in two directions.  Adding video (a more complex media form) and paint on canvas and writing (two ancient ones) allows the project to investigate the similarities between these media types.  For instance, from 4:03 to 4:39 the video investigates the similarities between the grid-work created by the canvas thread and the grid inherit in the projected digital image.

Another form of media introduced in this project is music.  Bethel Music’s God I Look to You from the album Without Words  is a remixed and remediated piece of art, providing an excellent partner to e pluribus unum (remixed).  The original song is a prayer (like the original project e pluribus unum is composed of prayers) and has become an instrumental that employs morse code on the keys of a typewriter to add instrumental and conceptual depth.

The final and perhaps the most interesting component of remediation in this project is that of participation.  Though the first project was a participatory project, the final product did not reveal that intrinsically.  This video includes further participation with the projected image, however, and allows the viewer thereof to become part of the work.  The nature of the projected image and how it adheres to whatever is in front of it becomes quite interesting when a moving object such as a person begins to interact with it.  Here the visual of collective thought and prayer conforms and even overtakes the individual that interacts with it.

e pluribus unum

With a similar aesthetic to previous paintings, Glossolalia 1 & 2, this work employed a participatory process and used digital media.  The title refers to the Latin saying, “out of many, one.”

In making this piece I wanted to conglomerate a body of prayers or meditations from a diverse crowd and place them together into one.  I asked all participants a vague question introducing them to the over concept of the work.  If they agreed that they wanted to participate, I led them to a private location where I had set up my computer and tablet.  After showing them how these tools worked and allowing them to pick their own color, I would leave them alone to write what they would on a blank layer in Photoshop.  Once they were finished, I would save that layer and clear the screen for the next user.  After obtaining a satisfactory amount of participation I compiled these layers to reap the results recorded above.  Each participant received a small printed version of this collaborative digital painting.

e pluribus unum would preferably be shown projected large format onto a wall in a quiet, dark room.  The background of the image (above shown as white for the website version) would be black to coordinate with the dark room in which it is shown.  The projector would be placed in such a way that the viewer’s shadow would fall on the piece, allowing them to have a more intimate and participatory interaction with the work. e pluribus unum explores the ideas of collaborative thoughts and prayers unified into one space through a digital and interactive environment.

a w a y

Still from a w a y, 2013.

a w a y is about finding a place of stillness separate from the world of business and constant motion.  The beginning depicts a series of dark, blurred, interior photographs sequenced speedily to denote hurried movement.  This movement can also be understood through the subtle sounds of incautious interior activity that crescendos in this portion of the video.  The startling white and silent moments that follow are meant to be disruptive and even uncomfortable.  They may indicate a glimpse of something that both draws and repels the viewer—a light too bright to be coherent by someone with eyes accustomed to darkness.  The remainder of the video transitions to an acceptance of this light in a meditative and transcendent approach—first through slow transitioning images of nature and light and then through a still video accenting the subtleties of wind and sound.

An optimal viewing experience would include a single room at the end of a hallway or set apart somewhere out of the way with a projected image on the greater part of the far wall.  The room would be lit only by the video, played as a loop so that the viewer could experience the full impact thereof.

What does it mean to get away and is this a worthy endeavor?  Does one’s life need stillness or tranquility?  I find that I often need these things and I want this video to ask these questions, allowing the viewer to process them visually.