How does one discover the discipline of 'knowing the combination' to the safe of 2D and 3D Painted work when juxtaposed? How do you acknowledge the inter-action between a painted canvas and a figurine or sculpture molding into each other without destroying their individual integrity? Cubism and Surrealism is often the result of a such a fusion, but a fusion that can be rearranged to make new possibilities by the use of further or reduced combo's. These are often unintentional happy accidents or the consequence of adaptation that extend or break hitherto limitations. But could they further the tension between intention and reception in a field and medium that had been written-off as analogue thinking?
Now we have it , the Painterly way of explaining the merging of cause and effect? Or not? But what if 'low grade' 2D painting can actually be the symbol ,not by any ideological construction but by example? Could Painting be a weapon as well as a joyful defiance of the Art World and beyond? Could it embody the prosaic as well as the imaginative? Moreover why does oil or acrylic Paint(not so much in impasto) defy gravity literally and correct the rules of a 2D surface in which a canvas or an object can be diagonal or upside down when painted? This leads me to the limitations of Art Display, in which a collection or an exhibition of Paintings have been restricted to a binary shelf-life: Paintings displayed in a minimalistic way or its opposite, in a maximalistic way. How could we destroy a medium by relegating it to its quality equating to these idiotic impositions of display! Instead what if Painting was like the connectors of the future and the experiences of the past, from cave drawings to museums to a magnitude of possibilities just waiting to be discovered. From the microscopic to the infinite have been imagined but have been re-lived by Painter's who are treated in Britain as the skeleton of the human form; isn't it time to put its clothes back-on?