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Just an old Mobile phone?


We have evolved beyond the margins and frontiers of Painting, namely beyond the bohemian permissive versus the dictat of factory overproduction!! We have celebrated beyond the eye can see and beyond the invisibility vanishing point! The Paradox and our Painting paradox have emerged since the detritus after the Cold War. Even if the Art Top Table defines Painting as sedentary, we Painter's don't claim to be independent of yesterday and tomorrow but today, existentially right now is our superpower of freedom by being unpredictably free to counter determinism in Art and in its Art elite! It is our mutation of imperfection that is the cradle of Painting's ancestry and its free spirit now, yesterday and tomorrow!! We ask the question: the human eye is unique to everyone on Earth, and therefore like our unique fingerprint, in Painting we self-define in all our fallibilities and imperfections! Save the 3 D printer for air-brushed replicants!! We are so similar but absolutely divisible by nature that we are terra-firma and yet able to see and comprehend the stars we see in the heavens that are showing us the future, and the past whilst being subjected to gravity, where Painting is the Art medium that first defied gravity 70, 000 years ago with a Hand-print on Cave walls, and we continue to defy gravity when we hang Canvases vertically, suspending the port-hole of our observation of all things celestial and terrestrial! We defy our mortal coil and yet we use Painting to culturally undermine totalitarian regimes in contrast and yet suspend human animation and yet expand its independence from photographic time and place limitation. It engages paradoxically, the full portfolio of an Artist yet extracts immediate meaning and yet suspends Art history yet makes finite our mortal coil in comparison! Paintings become both out of and in context in which both the Painter, viewer, expert and academic adapt to their own insights, confirming that Painting is universal and yet subjective, and establishes that both the Art top table and everyone else can both miss something and where both can elicit parallel and conflicting original takes beyond the intentions of the Painter. In short all need each other to breathe new life into the Art lungs of visual 'optics', but that tends to be Paintings that dominate all our first experiences of Art! So we better take care of that that breaks new ground for all of us, especially in our formative years first exposed to Painting! Of course, I will argue that it is Paintings that most of us recall in later life to match those moments of clarity that are individually ours! We autobiographise Art by processing it where it fits in our lives! We build relevance by the conduit of Paintings that is key to our hearts, minds and souls! But it is not a pit-stop to change lanes and jump on a tech bandwagon, because Painting is the building block that we gravitate to via our own universe of being a Practitioner! Why? Because, like life itself, it mutates every generation without recourse to technological upgrade, because the technology of tubes of Paint and its portability haven't really changed since Van Gogh! Much like Physics? Ironic that since Einstein, Painting has emerged as the most up to date medium of Art, because it too has reached its quantum leap already, without too much change subsequently??!! But issues of 'Form' have changed over the last century, but only as 'Luddite' dragging of Art feet, where it imposed the polar opposite of esotericism versus the instantaneous didn't swap and engage as the early impressionists wanted! Instead of being coexistent conflict still remains over whether the acquired academic knowledge being the only door to appreciation of Art or not?! But it does highlight how divisive and idiosyncratic Painting can split between how it engranchises and those it excludes!


Subjectivity in Art appreciation is installed by the tension of polarisation of Paintings traditionally fixed to a gallery wall, but both in your face at you and its opposite, pulling you in; there's no escaping the black hole or the white hole, to break-in or break-out! The choice is made simple - the blue pill or the red pill again! One takes the other gives, and the latter seems to be the choice of most Painters. Why? Because they'd prefer to fight with the odds of 50/50 in their favour, accepting the risk of the white hole spewing-out not just total virtue but total vice too!


Indeed, the kinetic and the static are a volatile inflammatory mix but very in keeping with human and terrestrial evolution Tune-in, tune-up, tear-up and explode are the very basis of our solar system since the Big Bang. So why when we advance further into the solar system wouldn't we see the Universe in both figurative and abstract terms with or without ET? Photo evidence of distant galaxies has been startling and 'Form' busting! Exact representational images are photo's that are the most advanced high spec that our unique human eye can analyse, and our scientists have ever developed ....... appear to be like 'abstract paintings'!? Perhaps even Paintings by Child Naive Art?! Imagine (actually you don't have to because you can see for yourselves) an abstract image on 2D canvas can, by happy accident and look more 'life-like and universal accessible without all the need for PhD’s etc Trillions of light years away is communicating to us that we have quite innocently depicted under our 'form noses'!!? Our highly developed human eye and DNA of our idiosyncratic fingerprints can visualise Art as 2 D space and 3D space etc without recourse to technology??!!Or high tech and low tech depicting Dimensionalities that haven't developed yet that are searching and communicating to the Universe for intelligent life...when we still haven't truly searched for more intelligent life on Earth but prefer to kill-off species off at a rate of knots instead by whatever means at our disposal - Climate change seems to be our latest!


Why run a 'spread-sheet elitist Art audit' by reverse-vulgarians obsessed with the 20th century? Why give oxygen to a mid-19th century Marxist philosophy? Why not prove that (even though Chinese Marxist- Leninism would disagree) that the science of History can only result not in Communism but the historical inevitability of the break-up of Marxist regimes and the prevention of it gaining sway anywhere else? Because it's already happening under the radar!! So why rock the Art Top Tables' status quo and its preference for 'everything but Painting Art'? My loyalties lie with the medium of Painting and not some crusade to rub people’s noses in it!



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