In my compositions, objects are initially, digitally captured in our time frame and in accordance with predominantly foveal perception, that used for scrutinizing highly detailed objects. They are then re-captured in peripheral divergence, opening up a broad spatial context, under the influences of ephemeral chronoception, subject to my individual experience of time.
As such, these works are by definition, by design, not from our normal world of perception, one in which there is general consensus as to what a cat, a chair, an automobile or mountain “looks” like. Light emanates from within the surface of the images, defining spaces both unfamiliar and universal. A new graphic language is suggested that attempts to do for the peripheral, what suprematism did for our solid world of agreed upon volumes.
The direct experience of another’s perception of an object or set of objects is normally facilitated by photographic recording. But what of the perception of an object or objects from our fleeting world of peripheral vision, shaped by our singular time frames? The experience of INDIRECT VISIONS is by design, highly personal, so naming the individual works of art posed a conundrum. I have decided that each would be named according to my perception, at an arbitrary moment.
In viewing these pieces, you may perceive portals, trails, vistas, volumes, surfaces, dream states and animations. I invite you to “see” them as you wish and in any number of manners simultaneously, coincidentally or following inexplicable sequences. If this artist’s statement comes off as a trippy, I have done my job.