“Painting exists at the intersection of several planes: the physical space it shares with the viewer, the picture plane space we term as figure and field, and it’s historical place in time.”

For the viewer Painting is a shape in space as well as a shaping of space. A painting does not end with the boundaries of the picture plane, but extends outward to include the viewer. In the act of painting the artist places himself at a distance, at a specific spot to view the work. The width of paintbrush, the drag of paint over a surface as an expressive gesture defines that spot.

Viewing Art is the search of that focal point. This defines a scale or a relationship between one’s self and the painting. It’s the limitations of one’s wrist and the sweep of one’s arm that imposes a physical relationship to the work. It is an extension of our own physicality, our own body’s proportions. These relationships exist in all of nature, and is termed as Dynamic Symmetry, as a “mean” proportion. This “Golden Section” mathematically is expressed as a progression; 1,1,2,3,5,8,13,21,etc. In geometry this proportion is derived from a square and using this system everything is in proportion one to another.

The picture plane is an armature, a grid, which encapsulates perspective, and defines the figure in space, and read like a text, the movement of figures on a plane connotes a past and a present as distinct directions in time.

In conclusion painting is the relationship of the viewer’s stance to a work’s interior drama. As an actual correction, based on the visual cone of a curvilinear plane, the shaped canvas is an attempt to carry form out of illusionism into a concrete reality by emphasizing the plane literally.

All Painting is transposing one structure upon another by analogy.