The Art of Seeing
……is a pleasure to learn, living in British Columbia with its diverse geography and vast areas of still untouched wilderness. Descartes first wrote about perceiving is a way of acting, something that we do rather than something that is done to us. We are each composing the world to fit with the way that suits us best at the moment as the signifiers closest to what we want to see get brighter and more in focus and what we don’t acknowledge as important reclines. This process starts with our thoughts and sometime never gets past that point. My goal is to coax viewers to understand how to re-engage ourselves into a richer world beyond thoughts, and even beyond the essential act of observation we do to weave our way through our days. To accept more of the undefined but very real venerable knowledge and power that the gift of sight has given us. And what better vessel to attempt this with than the ancient world beyond the city walls.
In the venerable sphere of a wilderness environment far removed from the commercialized spaces there is no energy wasted negotiating or blocking the superfluous optical noise matrix. I can immerse myself much more completely to the point that sight itself is refreshed or even reborn. I am then open to the stories the forest tells me.
My principle medium is acrylic paint because I enjoy the immediacy of the process. I like the tactile and plastic quality. I find using a totally human-made product like acrylic paint is the perfect communication tool for a human being to use. I believe in being open to using as much variety in methodology in application of paint as I can in one piece. This approach I feel mirrors the way we compartmentalize various elements in our visual scope. There is never uniformity and yet there is always a harmony that our minds have the ability to create out of that chaos. I also embrace pushing the envelope of composition by using seemingly discordant elements and colours onto the same canvas as a challenge that reflects what I and my seeing gives to me. Whether it’s a deviant colour, an improbably balanced branch, a beam of aberrant light, or a thousand other surprises, it’s the free radical in the forest that can vault the dialogue from natural to preternatural heights. I can’t deny the human propensity towards mythological interpretations and animistic visions. We all interpret the same scene differently whether it be a city street, a forest, or a painting. It is for the human viewer that I leave with multi-level opportunities to create and identify the signifiers that I leave for them like breadcrumbs in the forest.