March 9, 2009

Sometimes attempting to understand stops one dead in their tracks.  It initiates a paralyzing and cyclical thought process that must be injected with considerations from the outside.  It is where this impulse to understand hits you, the place that gives one the ability to stand outside in order to see inside more clearly that is of interest to me.  I believe it is in becoming connected to the shifting features and patterns of this place that one can better attempt to understand the features and patterns of new understandings.  It is the intimate expression that emerges in between these physical and cognitive spaces that shine light on the significance of life. 

 The outside that I am truly referring to is the land.  In the past the land has been able to be directly seen and experienced.  Faraway lands were read and written about, and dreams provided the creative space for futuristic geographic elements still elusive to sight.  Today, connecting with a landscape includes subconscious scenes resonating from TV, the computer and Internet.  Now, my direct experience and observation of the urban island landscape I inhabit on Peaks Island exists in the midst of all of these ways of seeing, perpetuated by the multiple perspectives of today’s technology.  It is this silent and surreptitious influence of indirect realities on my direct reality that makes the resulting painted landscape features at once familiar and foreign.  

It is from this new unknown, translated, enhanced, and exotic reality that depicts features of the landscape, which we must now draw meaning from to understand the painting and ourselves.  It is through an intimate, non-objective process between painting and painter / painting and viewer that a response-ability and reciprocity within nature emerges and from which understanding may follow.  

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