Repositioning the Mind: Redefining the Painted Canvas
In my artistic and theoretical study, I identified the painted canvas as an object of active relationships existing and functioning within the context of viewer intent. While investigating the role of imagery, I concluded that "the image" is a grouping of constructed compositions possessing the capacity for substantial reinterpretation when repositioned.
My interest in the recontextualization of imagery through human intervention led me to develop the Rotating Canvas, which allows the viewer to physically turn the painting 180 degrees in any direction. As viewers insert themselves into the evolution of the image, the rotation of the canvas can be seen as demonstrative of the continually transforming relationships between content and context.
The notion of dualities within the spectrum of dynamic relationships that emerge when the image is turned and disrupted is particularly interesting to me. I believe that the viewer participates in a pure and direct manipulation of the image, consequently unveiling a variety of aesthetic perspectives that inhabit the multidimensional landscape of the canvas.
The rotation of the canvas introduces an anti-formalist logic that addresses the dialectic between banausic imagery and its context. By reinvestigating the treatises of imagery, I broaden the intellectual context of my work and re-evaluate the purpose of the canvas from merely existing as a platform for the artist's media. The content of my subject matter is personal at times and removed at others. I am not interested in the content of my imagery; I am interested in the content's vulnerability as a result of the Rotating Canvas' capacity to disrupt it.
Formal characterizations of syntax and the sublime are superseded by viewer intervention; what becomes more important is the image's temporal transformation. While I sacrifice a certain amount of "artistic authority" as viewers dictate their experience with my paintings, I see their proactive gesture as evidence of their interest in exploring and developing a relationship with the artwork. The work allows for incessant physical and visual flux, encouraging the viewer to reach out to it again and again. When viewers are involved in the transformation of the artwork, I identify the experience as a Process of viewing and narrating, which can vary according to their level of interaction with the work.
Challenging the prevalent notion that the painted canvas is a fully explored artistic tool maintaining a static relationship within the continuously evolving intellectual landscape of contemporary art, I poses the questions: Can repositioning the painted canvas be a catalyst for experiencing paintings in a new way? Can the re-examination of imagery empower us to rethink and redefine the role of the canvas?