my . artist run website  

The Internet really can be a wonderful thing. 


Through my blog on Tumblr I had the good fortune of stumbling upon the music of Ryan Campos there was a mutual appreciation for eachother's work and since Ryan had quite generously made his music available on soundcloud I asked if I could make him a video to some of his music because I felt we had an aesthetic simpatico and I wished to express my appreciation for the inspiration and pleasure his music has provided me.


I am still in the process of honing skills of the applications that I use to make videos as an extension of painting and have recently added a brief paragraph about this pursuit on my artist statement, so I was quite honoured when Ryan agreed.


The images are glitched up footage of a collection of current clips and many collected from over the years that loosley relate to the overaching themes of my work. The look and process is still evolving. When I have had sufficient time to evaluate their overall merit I will create a page on this website for the work. 


In the meantime, I will use this blog as a way of introducing this new pursuit.


I hope to venture into other collaborations in the future. In the meantime, please check out Ryan Campos music


You can watch the videos here:

I think that sharing elements of one’s creative process can be useful to revealing a deeper understanding of the continuous dialogue between media and concepts that underpin the direction, obsessions and manifestations of the work one produces.


Although I have been collecting video clips and sound samples for a number of years now, I have not quite known what to do with them, other than to absorb them as references to the patterns and abstractions of substances that remotely manifest in my painting.


With the relative simplification and ease of use of certain apps, I have finally been able to start exploring what I consider to be an extension of painting through the medium of video. I work from the visuals and build the soundtracks from there. There has also been an underlying motivation to doing this as a means of adapting to some of the neurological and autoimmune limitations my physical environment has decided to impose on me in the last few years. So in essence, this is a creative adaptation. Limitations have their use.


As the learning curve of technology advances I have been posting my efforts on my YouTube channel and on other social media platforms (click-throughs are on lower left of the page). The aesthetic grows closer to where I want it to be. The production values are rough, in part because of knowledge limitations but more so because there is a bombardment of very highly resolved media on the Internet and that does not particularly interest me or serve my purposes at this time. I enjoy a balanced mixture of control and chaos put to good use.


I wanted to introduce the video Console to this blog by way of an introduction to this aspect of my creative process. Without any particular conscious intent to do so, this video captures much of the emotional landscape that is hard to name that occurs like a feedback cycle for me when I am working on a lux coda painting – so much of the mysterious and confusing qualities of the combined sensory input of light, substance and the music that I listen to (which is a broad spectrum of genres) has found it’s way into this video. Perhaps the title is what forms the strongest intent to describe what this process has become: a form of consolation – where drawing and handwriting have become painful and frustrating, I have turned to the console, to this medium, to paint with light and sound. This is what I do while the paint dries.


Art is hope.

Now back to the studio.


ps. A shout out to my Brother in-law Oscar Finch aka Venn Diagram for being a font of audio geekness advice extrordinaire.

An ever increasing comfort in aesthetic foils. The mysteries of lower resolution, blurs, glitches, low production quality, evidence of the awkwardness of human interactivity where intent is genuine, striving, and considered but composed of forgiveness.


I am participating In at Workman Arts Window Gallery located on the Lower Ossington side of Shopper's Drug Mart 1033 Queen Street West, with Peter Muclair and Monika Szopinka in Stratosphere  April 26-June 27 2013


The byline of my blog The Swinburne_Complex is “Tightening Up Loose Associations”.


The sheer volume of creative work on the Internet is an amazing and overwhelming resource to feed one’s creative process. It is also an opportunity to share the diverse sources one draws upon for inspiration and information.


One of my concerns as a visual artist is reaffirming that the core discourse of visual art remains between the works themselves. All else is peripheral. The visual dialogue is it’s own thing that we happen to eavesdrop (or rather, eyes drop) on and that this condition remains ultimately ineffable allows for a certain paradoxical freedom within a cognitive dissonance of the desire to describe one’s genuine experience whilst that very desire is being undermined – we resort to something close to grunts – look! Wow! Cool! Brilliant! Or is that the effect of the seven-second world of electronic media? Three minutes is an eternity in the land of pixels, or is it? Transcendent power eludes speech our persuasive power of social cohesion.


Our attention longs to be held. The popular upsurge of mindfulness as a panacea to solve unrest and cure discomfort in one form or another attests to this. However, creative attention is unrest. It is mutable through observation and imagination but anchored through themes, obsessions, perceptual biases and repetitive strivings.


Observable patterns that fluctuate like ocean waves I watched for hours are set deep with a meaningful sensibility that have become descriptors of abstractions and formulas I barely grasp but sense a unique convergence that motivates me to sort and collect as I have always done, but with a greater sense that others are on similar paths and we have this medium to share the journey.


Through my researches Gaston Bachelard, who coined the term “The Swinburne Complex” describes the condition of reflective attention well in the following passage – although he is referring to poetry, to poetic sensibilities if you will; to my mind this speaks to contemporary media streams:


“Thus water, by means of its reflections, doubles the world, doubles things. It also doubles the dreamer, not simply as a vain image but through his involvement in a new oneiric experience.

Of course, an inattentive reader may only see yet another worn out image. That is because he has not really taken pleasure in the delicious visual effects of the reflections. It is because he has not lived the imaginary role of this natural painting, this strange watercolour that moistens the most brilliant hues. How could such a reader follow the narrator as he proceeds with his task of materializing the fantastic?” – p48 Water And Dreams an Essay On the Imagination of Matter


This circuitous linking of the experiential, the metaphorical, the literal and the factual is what interests me with respect to the doubling that Bachelard speaks of. Within the compressing attention demands of the Internet, I wish to compile a series of reflections not only as part of my own creative processes, but to test if any linked associations become salient enough to stimulate and endure.

I was pleased to have the opportunity to adjudicate the Being Scene exhibition this year. Chris Mitchell’s well honed facilitation of physically viewing 350 or so works of art was just great. Choosing 50 was the hard part. As a jury we collaborated to narrow it down and one often wishes there was room for a few more. I’ve hung a few group shows and it always is quite thrilling how one sees conversations between different artist’s work start to form, the visual and/or thematic relationships, the pieces that whisper and the one’s that shout. As individuals, when it comes to visual art, the conversations that we hear are all a bit different. That’s the real reward. Thanks Chris, Sarah and Noa for a great experience and to all the artists who submitted.

Kosslyn speaks here of a doubleness in the way people think, contrasting the use of “depictive” representations, which are direct and unmediated, with “descriptive” ones, which are analytic and mediated by verbal or other symbols.’ p230 The Mind’s Eye by Oliver Sacks

Source: p230 The Mind’s Eye by Oliver Sacks

Image: Jan Swinburne


The folowing article relates to the synesthesia-like aspect of the water / light themes that persist as material and consequential representations with my work. The formal and material imaginings sometimes coalesce with information I happen upon through various researches.


The images in this article inspire both micro and macro scale musings.


This is a useful clip as well...