|Under the unminding sky|
|2008 - 2010|
|2005 - 2007|
|The roads they traveled|
These paintings became a way to explore how driving in weather shifts and changes the views outside the car as well how the driving experience informs our basic interpretation of environment. We easily understand how painting can mold cultural perception, which in turn influences landscape design to become more like painting (view points, scenic routes, etc.). Theodore Rousseau created mesmerizing sunsets of the forest of Fontainebleau while JMW Turner stirred up interest in dramatic effects of storm and fire from the safety of the salon. Painting functions as an indexical reference for a type of experienced reality as well as its own self-enforcing, gratifying sensation. As in Merleau-Ponty’s phenomenological interpretation of reality, breaks or distortions only serve to expose and justify the notion of an experienced external reality. In the case of driving, the abstraction and distortion of the water are indexical to the windshield (as smoke can be traced to fire). The result is that painting, per se, can summon a pre-verbal experience- slipping outside of static referents and into a gestalt of sensation, both fixed and fluid.
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