The end of Perspective
The general public has been trained view painting with 3 dimensional depth perspective. This is normally from the point of view of a single person with a single vanishing point and all the characters and objects conforming to that perspective. The aim is to represent objects in a proper scale and have them relate to each other correctly.
This method was revealed in the 15th century. It was then improved and given a mathematical dimension by the French Philosopher Rene Descartes 1596-16-50. The mathematical 3 dimensional perspective was the method used to represent but most importantly the way to view and understand works of art. Everything had to be put in a single homogeneous space with a single vanishing point.
Descartes believed that in order for our perception of the world around us to move from confused forms to become clear and distinct the objects will have to be interpreted by our minds with an innate geometry.
This all changed with the impressionist and the birth of modernism in the 19th century. Modernism brought about the end of a clear vanishing point; the figures seem to be in a curved space. Space is no longer a single homogeneous container.
Paintings did not need to have a geometric perspective. Paintings do not even need to have a narrative. Paintings could simply ask a question, represent a mood/feeling or make ambiguous statements.
With modernism paintings did not need a horizon; objects broke into worlds of their own. There was more of a focus on the present not a constant reference to the past or the artist been constrained by any culture to represent specific religious or culturally accepted ideas.
With my paintings I try to superimpose rhythm and harmony while achieving a fine balance between the figurative and the abstract. I never start with a preconceived final image in mind. To do this I have to combine austere rigor with unbridled fantasy.
I believe contemplation facilitates revelation. Through contemplation and observation one is able to grasp the essence of nature and depict that rhythmically. I aim to replicate the osmosis of nature in painting
I want my paintings to be like an optical dialogue, each patch of color is part of a dialectic process where each surface is trying to establish itself. In my paintings there is a conflict between luminosity and density, struggle between quantity and quality, tension between gravity and lightness. I aim to find a rhythmic balance between the forces at play.
A crucial part of my technique is pointillism and juxtaposition. I use pointillism but do not aim to reconstruct the optical phenomena of light. I aim to create depth and movement by juxtaposing different shapes, colors of different sizes. This is all put together to depict a theme important to me at that time.