Monday, March 02, 2015


Objects oil on linen 85 x 147 cm
Why did I call this new painting... simply... Objects?
Well, it's not really that simple! The title belies the possibilities.
Regular readers know that I like to 'play' with perspective, orientation and distance. I find a kind of compelling enjoyment in creating images that are somewhat ambiguous. I believe it makes people think, step outside their comfort zones, become more playful...wonder.
So, let's discuss Objects
Given that I have a great interest in Space...of the outer Space could think that the round balls are planets. With a cosmological view/perspective, the balls become almost endless in their possibilities. Well, that's what I think anyway!
What could they be?
They could be Universes...there is a tantalising theory that we exist not in one Universe, but in a Multiverse. I first read about the theory in Lord Martin Rees's wonderful book Just Six Numbers. I have since read a lot more about the various theories of a Multiverse and my thoughts appear in my paintings!
And, talking about 'thoughts'...the round balls could be just that...thoughts.
They could also be atomic or even subatomic entities existing in their own smaller-than-small 'environments'.  
They could be bits of cosmic dust, balloons, bubbles, endless full-stops! We could be looking through them or from behind, or from above or below...maybe all perspectives at once?
They could symbolise a plethora of things...philosophies, eons, the juggle of life.
And, of course the painting itself is a object...that has relational capacities not only with its external environment of other things, including us, but with its own plethora of possible visual depictions.
This brings me to OOO - Object Oriented Ontology, a new 21st century theory of things...a theory that everything is an object and that existence [the ontology bit] is about how things relate to things . Yes, we are a thing too, so not elevated to a significant otherness, but well and truly within the reality of thing-ness. Here's some extra reading for you Dr Ian Bogost's What Is Object Oriented Ontology: A Definition For Ordinary Folks and Dr Graham Harman's OOO blog Object Oriented Philosophy. Dr Harman is considered a founder of the philosophy.
Pale Blue Dot [After Carl Sagan] Oil on linen 120 x 160 cm 2014
Late last year I made a presentation at a OOO symposium called Seeing Things at the Queensland University of Technology. My presentation was called Cosmic Perspectives and I suggested that there is a fascinating correlation with the arrival of OOO and a rise in awareness and study of existential risks. I suggested that as existence is perceived to be more vulnerable to massive degradation or complete annihilation we have a need, albeit probably subconsciously driven, to restore reality from post-modern slipperiness to...well...realness. For example classing climate change as a thing/object, that embraces many other things/objects within its ambit, subtly shifts it from a kind of nebulousness to a more specific or 'concrete' state of object-hood. And, thus it seems easier to actually do something about a thing or an object! Think about the increasing number of articles written about possible doomsday outcomes of artificial intelligence, robots etc...from taking human jobs to deciding that we are not necessary! Many articles [you can Google] have been written about the loss of jobs; from doctors, lawyers, drivers to accountants and more. Yes, white collar, professional and blue collar. There's something very real about losing your job...and there's enormous anxiousness about mass career/job destruction.
Reality can be a sledge hammer! But, maybe we need the 'wakeup call'?
Now there's a thought...maybe the balls are dreams......?
After The Implosion  Some reflections upon Post-Modernism.
TESTIMONIESMy Mum's exhibition Testimonies is up! Here are the details.

My Mum, Elsie Brimblecombe, has been exhibiting her paintings for a few years now. She is inspired by the written word. Each of her exhibitions has been themed to a particular writer and book/poems.
This year's exhibition is a series of paintings inspired by the modern Greek poet Yannis Ritsos . The two paintings below will be in Elsie's exhibition.
Place: Upfront Club - 31 Maple St, Maleny, Queensland, Australia.
Dates: 20 February - 18 March 2015
Please check the Upfront Club for opening times - they open from 7.30 am 7 days - you can have breakfast, lunch, dinner, morning and afternoon tea there, but just check what days they open till late etc. They also have live gigs there, so you could combine seeing some art and listening to music!

Monday, February 23, 2015


Living With Distance Diptych 120 x 160 cm

Over the last week I have been posting some older paintings on Instagram . I've also posted some to Facebook. These paintings are from my early 2000s bride-in-the-landscape series. And, something strange and pleasing has happened...people are responding to them in slightly different ways to responses I received 13 or so years ago. Did people like them years ago? Yes, but not quite in the same way.

The painting above Living With Distance reminded me of some of the weather maps/images we Australians have recently been viewing with great interest. Cyclone Marcia hit the coast of Queensland, at Yeppoon, last week, causing great destruction. The accompanying heavy rains have caused flooding across the central and inland coast. Interestingly, when I uploaded this painting to Facebook and Instagram, I had one person comment that it looked like a weather image. This person is from California! I was thrilled that someone had picked up on what I also had seen in my own work.

When I painted Living With Distance I was thinking about the young brides who follow their rural-based husbands into the distance of geographical isolation. However, I was also 'playing' with the idea of distance within a relationship.

Assimilation Oil on linen 80 x 100 cm
Assimilation is also reminiscent of a weather map/image. The bride's form seems to becomes the indicator of water flow or cloud cover! When I painted this I was thinking about the country bride who becomes absorbed by the land. Her life depends on the ebbs and flows of the landscape...AND the weather. She also becomes part of a community where women are a force of spirit and involvement in everything from the arts, education, welfare, health and well being.
Flying Oil on linen 80 x 120 cm
Memory Oil on linen 80 x 100 cm
Previous posts The Moon and Memory
The four paintings above all have a hovering or flying theme! The bride and her spirit watch from above, yet she is intrinsic to the patterns and rhythms of the land. In Flying the bride is like a cloud. Her shadow is cast across the landscape which she is a part of, but also separate from. Her presence has influence. It's as if she is a custodian or symbolic of Mother Nature looking after her Earth.
In Memory the bride and her young self as a child hover over a landscape that is cosmic in appearance. Maybe this is one of my early cosmic paintings...and I was not even aware of it until NOW! The phases of the moon symbolise the passing of time. The bride reflects upon the dreams she had as a child. Or, maybe the child is projecting into the future?
Life Oil on linen 80 x 200 cm
Life visualises the milestones of a girl's life. Birth, childhood, education, marriage, pregnancy and motherhood, death! This painting is a bit DARK methinks! I'll let you think upon that for a bit!

So, why are my bride-in-the-landscape paintings resonating with people in a slightly different way to ten or more years ago? There could be a number of reasons. A lot can happen in a decade. Here are some considerations, off the top of my head.

  • With the deluge of imagery on the internet and social media available today, maybe we are generally more aware of patterns across such things as weather maps and bride-in-the-landscape paintings?!
  • We currently have a heightened awareness of domestic violence, and whilst my paintings are not about domestic violence, the vulnerability of the bride symbol does affect people, even subliminally.
  • We also have heightened discussion about same sex marriage. The idea of marriage is being re-negotiated, albeit slowly, on social, religious, political and economic fronts.
  • I have daughters and I am aware that young women today are balancing many considerations against those that could be considered more traditional dreams, such as marriage and children. I am also aware that young men are taking part in these discussions. The latter is probably the thing that seems so different to when I got married, for instance!
  • Due to the internet, non-stop news, social media etc there is more awareness of the status of women in other cultures. These include traditions of marriage. And, some of these shock us.
  • And another possibility at a subliminal level. Maybe the vulnerability of Earth's sustainability seems more fragile when a bride's presence evokes purity and the call to Mother Nature?

The paintings above are only a selection of my bride series of work.

With International Women's Day next week, I will post some more of my bride paintings. Also, I have some exciting news about a painting and a UK publication! Shall keep you informed.

My Mum's exhibition Testimonies is up! Here are the details.

My Mum, Elsie Brimblecombe, has been exhibiting her paintings for a few years now. She is inspired by the written word. Each of her exhibitions has been themed to a particular writer and book/poems.
This year's exhibition is a series of paintings inspired by the modern Greek poet Yannis Ritsos . The two paintings below will be in Elsie's exhibition.
Place: Upfront Club - 31 Maple St, Maleny, Queensland, Australia.
Dates: 20 February - 18 March 2015
Please check the Upfront Club for opening times - they open from 7.30 am 7 days - you can have breakfast, lunch, dinner, morning and afternoon tea there, but just check what days they open till late etc. They also have live gigs there, so you could combine seeing some art and listening to music!

Sunday, February 15, 2015


Code oil on linen 60 x 110 cm 2015
I've written about Code twice before HERE and HERE

There are a couple of movies coming out soon that I am really looking forward to seeing. One is called Chappie from District 9 director Neil Blomkamp.

And, another movie is called Ex Machina directed by Alex Garland.

Both tell tales of artificial general intelligence, robots and human reaction to these.

Both movies come at a time when serious discussions about artificial intelligence [AI] and artificial general intelligence [AGI] are occurring around the world. These discussions are taking place at the very pointy end of scientific and philosophical research*. There are not only potential advantages, but also perhaps major risks associated with the development of artificial intelligence and super-intelligence.What may have been considered scifi ten or more years ago, is no longer a tenant of the impossible. 

Last week I took myself off to see another movie... Kingsman: The Secret Service I loved it...a spy spoof, with Colin Firth as one of the leading characters! But, there are links to the discussion about technology's capability to transform/change humanity. In the movie a super-rich malevolent megalomaniac, attempts to take control of human free-will via implants and the ubiquitous 'smart' phone. In a way his deranged intelligence, coupled with his immense technological power, is a metaphor for the fear of AI and AGI gone array. We also see low Earth orbit satellite destruction, remote control of vehicles and a lot more techno gadgetry; much of it spoofing James Bond movies.

Yet, like a couple of other movies I have written about recently [Interstellar and The Hunger Games] Kingsman: The Secret Service channels fears of existential risk. It's not overt, but it pervades as a background resonance. Rather than spoiling the movie for those who have not seen it, all I will say is that existential risk caused by climate change is a catalyst for the story. This is essentially the same catalyst for the story that unfolds in Interstellar. Each movie takes entirely different story telling paths though!

The existential risks and fears associated with AI and AGI seem to drive Chappie and Ex Machina. I am particularly looking forward to Chappie as I have seen the preview shorts a few times and I am fascinated that even in a few minutes Chappie's 'personality' reached out to me. Chappie is an intelligent robot! But, even though Chappie is clearly a robot, the moviemakers have successfully utilised anthropomorphising techniques, beyond making it a biped with head and arms, to create a character with personality that is intelligent and seemingly sentient. For example, in the shorts, we see the robot engaging with a dog, just like a human would. And, we see the robot drawing, en plein air, a picture of a car that it is observing. Getting a robot to relate to an animal, particularly a dog [humankind's best friend], and creating 'art' are very clever ways to anthropomorphise! I gather that in Ex Machina a scene where the intelligent robot Ava is drawing is also pivotal. Yet, there is a danger in anthropomorphising robots, AI, AGI etc...I think anyway. By doing so we project ourselves onto the robot/AI...and I'd say that projection is a kind of wishful thinking with all its inherent blind spots!
Meeting Place Of The Mind Oil on linen 100 x 70 cm

I am keen to see what Chappie does with its drawing. I am also keen to see Ava's drawing. Why? Because there's drawing and then there's drawing! Yet, there must be something about art and creating art that we humans understand as an essential sign of  being human. So, if a machine can 'create' art then it must pass THE TEST [Turing Test]. But as I wrote above, there's drawing and then there's drawing...rendering something perfectly with technical and realistic virtuosity is not necessarily art or creative! What would happen if the robot/AI made a mistake, how would it problem solve? Indeed, maybe making a mistake would be another sign of human-ness?

* The 'pointy end' of research that I referred to above is taking place at such as The Centre For The Study Of Existential Risk at Cambridge University, Future Of Life Institute based in Boston and Oxford University's Future of Humanity Institute


Friday, February 06, 2015


Multiple Choice 100 x 70 cm 2015
  • Discussion about my new painting Multiple Choice
  • My Mum's [Elsie Brimblecombe] forthcoming exhibition Testimonies
  • News
When I was a student [primary secondary and tertiary] I hated multiple choice exams! Why? Because, unless it was really clear that a 'black and white' question was asking for a 'black and white' answer, I always saw possibility in 'what if'. Questions may not have been clear enough and thus lead to 'what if' wondering. The choice of answers often triggered 'what if' type pondering. And, before I knew it, I had wasted minutes wondering rather than answering...and I'd run out of time to complete tests. As I got older, I learnt to switch off my wondering and give a tick to the answer that seemed, on first impression, to be the right one. I got quite good at switching off my wondering and I ultimately did better in multiple choice exams...a learned technique got me through. Although, I often still did not finish the test!

However, it did not stop me wondering completely!
Choice, in reality, does require wondering....don't you think? And, that can and should take time.
For instance, as more and more potentially habitable planets orbiting the Goldilocks zone around distant stars are discovered, there seems to be a suggestion that there will be a choice of potential alternative planetary homes for us to inhabit when Earth is compromised/destroyed, either by us or by external natural forces. But, as the recent film Interstellar indicated, it's really not that simple.

I suggest we do need to make massive efforts to ensure the sustainability of Earth! Why? Because, for the foreseeable future it is our only 'home' and we need time to work out what these choices of other 'homes' may mean. It's certainly not a black and white scenario! Let's not precipitate, more than we may already have, Earth's erosion and demise.  Choices of alternative planetary 'homes' requires a lot of wondering, thinking, pondering, calculating and more...and that all takes time. There's a plethora of reasons why we need to ensure Earth's sustainability, and one of them is to give us time to make the right decisions about future inter-planetary human settlement....if it's possible.

MULTIPLE CHOICE Oil on linen 100 x 70 cm
So, with what seems to be almost weekly new discoveries of potential Earth-like planets, I was thinking about choosing another planetary home.

In my painting, the round balls are planets...yep...representative of a multiple choice of planets. Each one is a different colour or shade of a colour, indicating that each offers a different environment that may or may not be conducive for life.

But where one planet could hover, I painted a tree instead. Yes, my much loved age-old transcultural/religious tree-of-life. It sends an ambiguous message. And...regular readers know I like ambiguity. It could be Earth/humanity...seeking? Or, it could be our new home, calling out to us; a planet replicating Earth's life sustaining environment? Or...on a more sombre could be life 'lost' in a Universal wilderness.
The painting is a landscape. A cosmic landscape. The red and blue background sets a landscape scene, yet it is not clear where this 'place' might be. It could be ground and sky, or it could be a snapshot of a shadowy, gaseous, dusty place in outer space.
At one instance Multiple Choice is a playful painting ...the colourful balls creating a party-like atmosphere. But, at another instance it suggests a juggling act where time is the essence...where getting the 'exam' 100% correct is imperative!
My Mum, Elsie Brimblecombe, has been exhibiting her paintings for a few years now. She is inspired by the written word. Each of her exhibitions has been themed to a particular writer and book/poems.
This year's exhibition is a series of paintings inspired by the modern Greek poet Yannis Ritsos . The two paintings below will be in Elsie's exhibition.
Place: Upfront Club - 31 Maple St, Maleny, Queensland, Australia.
Dates: 20 February - 18 March 2015
Please check the Upfront Club for opening times - they open from 7.30 am 7 days - you can have breakfast, lunch, dinner, morning and afternoon tea there, but just check what days they open till late etc. They also have live gigs there, so you could combine seeing some art and listening to music!
Morning Acrylic on canvas by Elsie Brimblecombe

Association Acrylic on canvas by Elsie Brimblecombe
I received an official request from the State Library of Queensland to allow PANDORA [Australia's National web archive - National Library of Australia and partners] to archive my Blog...
 YES this one you are reading now! 
PANDORA is an official site for archiving 'online publications and websites of lasting significance' and 'research value' in perpetuity. I am really so very happy that my eight year old Blog has been acknowledged this way. 
I have three new 'galleries' on my website that are activated for online buying. This is a new facility for artists using the ArtHives system. My 'galleries' are:
Inner Child Gouache on paper 37.5 x 28 cm 1997
From my book For Everyone

Friday, January 30, 2015


My first January 2015 post was about a painting that was not working out...I had to wipe it. The post is called Sometimes Things Just Do Not Work Out 
After describing what had gone wrong, and my failed attempts to alleviate, I wrote Rubbing, wiping, more turps, scrubbing and scratching, more turps, until finally I now have the linen canvas at a point where I know I can create another painting without the 'shadow' of the combatant one lurking underneath.
The photo above is me wiping the painting.
The photo below is the wiped painting...
The photo below is the resurrected painting! It's called Code and it's nothing like the painting I wiped. However, the red undertones are thanks to the remnants of the previous image. Indeed, I wrote about the wiped painting I now have a new and rather interesting looking base to imagine with...see I am already thinking like the painting and I are in partnership!
Code Oil on linen 60 x 110 cm 2015
Code and I were and are a partnership! We went from this to that together.
That's not to say there weren't any angst moments as I painted. But, these moments were points to reflect rather than dead-ends or 'battle' scenes!
Please read my post for Code ... I discuss my inspirations...tree-of-life as the master template for the Universe, simulation theories and more. Yep, BIG stuff! The photo below is a detail from the painting. It shows my use of actual code...binary code... for LIFE!
LIFE - Binary code - Detail from Code
Also, take note of the computer chip/circuit board sections in the tree that seems to grow from the edge of the painting. The branching appearance in circuit boards has always fascinated me. Reminds me of a tree...and you all know how I like my age-old transcultural/religious tree-of-life!
Since I can remember I have been exposed to things like circuit boards, transistors, resistors, aerials and so on. How? Why? Well, my Dad has been a HAM  radio enthusiast since he was a lad. When I was about 11 or 12 I built a crystal [radio] set. I was pretty happy with my achievement and took it out to Dad's HAM shack to hook it up to a wire that I knew was connected to his huge aerial. This amplified the crystal set's receiving ability a lot. Dad's aerial 'punctuated' the flatness of the Pirrinuan Plain, where our grain farm was! See my brother Wilfred Brimblecombe's photo below.
By Wilfred Brimblecombe of the family homestead. HAM shack and aerial on right.
I hasten to add that I am not an expert in electronics. I pursued a humanities at university rather than science. However, long-time exposure to technology has certainly influenced my interest in it, how I approach it and how I integrate it with other areas of interest, including my art. My choice of a traditional medium is deliberate and...enigmatic...paradoxical...but definitely fun! 
I think my exposure to technology, throughout my life, is why I am so interested in things like, Cambridge University philosopher, Prof Nick Bostrom's theory that all of existence is possibly a computer simulation run by post humans who are attempting to re-live, re-create existence, perhaps over and over again. Also, current debates about the possible negative affects of artificial intelligence fascinate me. Again, Nick Bostrom has cautioned, but so has a plethora of other really smart people eg: Stephen Hawking [needs no explanation!], Jaan Tallinn and Elon Musk [both technology entrepreneurs eg: Skype, Tesla, SpaceX], Sir Martin Reese [physicist and cosmologist] , Max Tegmark [cosmologist] and more. In fact the Future Of Life Institute, in Boston and co-founded by Max Tegmark, has recently written an open letter urging people to really think about how AI is developed. It is not anti-AI per se, but calls for deep thought and reflection. The debate recognises that a cross-disciplinary approach is necessary to ensure all angles are probed.
I work in my studio...hours and after day...I ignore household chores...until, for example...the grass is far too long. I then galvanise my energy to mow. The two photos below show me in my studio and starting the mower. Neither activity requires high fashion garments, make-up or other pretty you can see!

But, the third photo below shows me all 'scrubbed up'. Yes, a fun from this to that!

In my studio [aka garage]

Starting the mower
Out and about

Friday, January 23, 2015


Code Oil on linen 60 x 110 cm
I have previously written about my idea that the tree may hold clues to the template or code of life. In September 2010 I wrote a post called Master Template? where I discuss some of my thoughts. And, yes the post is accompanied with a number of my tree-of-life paintings. And, yes it is a fanciful notion, based on nothing other than observation and imagination!
Since 2010 I have read some fascinating theories about the Universe, a Multiverse and more. One very interesting idea is that all of existence is, in fact, a computer simulation! Yep, a computer simulation. Prof Nick Bostrom from Oxford University has made such a proposition. Please check out a very interesting webpage where you can read Prof Bostrom's theory, plus scholarly commentaries etc. Also, check out Prof Bostrom's own page for some very thought provoking ideas on a range of issues from artificial intelligence, to embryo selection, to transhumanism and more.
But, back to the computer simulation idea. Prof Nick Bostrom's theory, as I understand it, is that we are living in a computer simulation devised by post humans who re-live their human existence via a simulation which they 'watch' and vicariously 'live'. Not only is it a re-living of the human existence but also a re-telling or re-evolution of all existence since the Big Bang. I have previously written about the theory in Watching The Universe and Count Down
In my previous post Count Down I wrote So, we maybe living inside a computer? But, then again we may not? But if, indeed, we are living inside a computer it would have to be a really magnificent computer and probably not recognisable as a computer to us, otherwise we'd detect the subtext, the guile, the subterfuge...wouldn't we? But, as the Professor writes, if someone did detect something, the post-human simulators could eradicate the memory of detection, wipe the slate clean...and the simulation would continue.
But....maybe the Professor's postulation is a sign of the simulation itself...maybe an undetected leakage from the post-human future or maybe a deliberate play...a teasing loop?
Prof Bostrom is not the only one talking about life...all a simulation. Check out this quirkily presented video interview on Talk Nerdy To Me with physicist Prof Martin Savage from the University of Washington .
IT IS FASCINATING STUFF don't you think?!!
That brings me to my new painting Code
My visual interpretation of the age-old transcultural/religious tree-of-life forms a semicircle, which represents a planet...maybe Earth? One branch connects to a swirling, looping tree that seems to emanate to and from a distant space/place. If you look closely at the tightly coiled part of the tree you will see the word LIFE in binary code. I did not do this on my own. I had the Internet to help. It's provides text-to-code conversions!
Anyway...also take a closer look at the 'planet'. I have painted some of the 'branches' as parts of a computer chip. Don't you think they look almost like music notes? And, music itself is a code of sorts too! However...the point is that systems, both naturally occurring and human-made, seem to need a branching type of appearance/existence. Maybe it's how the post-humans 'play' their simulation?
I am ploughing my way through Douglas Hofstadter's 1980 Pulitzer winning book Gödel Escher Bach: An Eternal Golden Braid [Basic Books, 1979]. It's fascinating 'trip' through various kinds of loops: logic, music and art. In fact, it has inspired me to become more aware of looping trees in a few of my paintings [couple of example below]. Since starting to read the book I now deliberately often depict the tree with looping aspects. Once I have finished Godel Escher Bach I will read another of Hofstadter's books called I Am A Strange Loop - great title! It may take some time though.
Beyond The Dark Night  Oil on linen 100 x 100 cm 2009
Getting back to the tree...the tree-of-life to be specific. Regular readers know of my long term fascination with the age-old symbol...more importantly my fascination with how we can tease out symbolic energy in a way that is meaningful to us in the 21st century. I suggest that staying connected to age-old symbols may actually help us remain human...?
In Code the tree is the dominant 'player'. This is deliberate.
Tree Of Life Time Travelling Oil on linen 85 x 150 cm 2012
I have created 3 new galleries on my website, all activated with a new online shopping feature. The galleries are 'Smaller Oil Paintings', 'Works on Paper' and 'For Everyone'. My 2011 book For Everyone: Words and Paintings can be purchased through my new 'For Everyone' gallery. Many of the paintings featured in the book are also available.

Wednesday, January 14, 2015


Seeking Perspective oil on linen 92 x 102 cm
For those of you who read my last post Sometimes Things Just Do Not Work Out you will be pleased to know that my painting mojo returned. For those who have not read my last post, it was about a painting that was just not working. After some reflection, and a few weeks of  painting, it had to be wiped.
Seeking Perspective [above] is not the 'phoenix' of the painting I wiped out. The would-be-phoenix is resting. The wiped-out phoenix-in-waiting painting rests near my easel, as evidenced by the photo's the red one on the left. As I work, keeping it in sight helps the percolation of new images and ideas. It's 'wings' are fluttering!
In response to my last post I received many comments about how interesting it is to see how an artist works. Thus, another reason for the photo below and the one at the bottom. The photo
below shows that I placed the 'failed' painting in sight of where I work. Other paintings are in the studio for all sorts of reasons eg: they need coats of varnish or the sides of the stretched linen need painting etc.

Can you tell my 'studio' is also known as a garage! I dream of.....
So, let's discuss SEEKING PERSPECTIVE.
In the photo below you can see me painting Seeking Perspective. The underlying coats of paint had been applied weeks ago. So, last week when I wiped out the other painting, I turned to this new one. Even while I had been working on the other one, this prepared linen kept drawing my attention. I should have decided to work on it first! As I have written before canvases, even blank white ones, speak to me. I should have paid earlier attention to the one that has now become Seeking Perspective!
 Me in my studio working on Seeking Perspective. On the right is Life Calling: Anyone There? On the left is the wiped out painting and behind it is Birth Of Light
My much loved age-old transcultural/religious tree-of-life cascades across the canvas. Is it cascading across the vastness of outer space or is its existence an intimate microscopic world...or does it harken to something in between vastness and seeming invisibility? Perhaps, it exists in all perspectives at once?
The title Seeking Perspective can be interpreted a couple of ways. Maybe perspective itself is seeking, maybe it implies that perspective is sought?
With recent atrocities that have happened around the world, the use of the transcultural/religious tree-of-life has given me some solace. Indeed, it is a shared symbol across many cultures and religions and yes, it is closely shared by the three Abrahamic religions of Islam, Judaism and Christianity.  
The tree-of-life, as a symbol of all life, is a conduit for perspective itself to seek out new ways of 'seeing', at the same time as inviting...even to seek these perspectives too. As the tree reaches into unknown spaces of close and far distance, especially in partnership with cosmology, we can 'slide' along the branches, revelling in 'in/sights' never imagined. Well, we can...if we go seeking! Are we brave enough? I think some are...and some are not. And, perhaps some deliberately 'climb' a 'tree' that has been poisoned.

Seeking Perspective's cosmic potential, draws the viewer across many dimensions. As I was painting, I imagined the red ball as Earth, maybe 'bleeding', maybe hot with potent potential, maybe just plain HOT. The tree-of-life provides vascular-like energy in 'empty' space, almost cradling 'Earth'. But, it may not be Earth at all. In a Multiverse...yep that's right we may exist in not one Universe, but many...maybe the red ball is our Universe?

Taking a cosmic perspective makes it abundantly clear that we humans, for the foreseeable future anyway, only have one home...Earth! It also makes war, killing, terrorism and fundamentalism of all kinds, seem pretty puerile.

You might like to read Team Humanity

I highly recommend the Boston Goble's Art Critic, Sebastian Smee's essay Confronting The Unthinkable In Goya's Art  Its trigger is the Goya exhibition at Boston's Museum of Fine Arts, but Smee, with amazing dexterity, weaves contemporary themes into an analysis that prods re/thinking about our perspectives of humanity. It is a sombre read, but eloquently illustrates the power of art to provoke analysis.

Here's a 'close distance' photo of Seeking progress.

Up until now, my website has not had a facility for buying online. NOW ArtHIVES, which hosts artists' website and mine too, has provided us with a shopping facility linked to PayPal. I've activated the facility in one of the 'galleries' on my website. The gallery is Smaller Paintings . Please check it out HERE

And, here's the link to the official notification that my BLOG, yes this one, has been selected for archiving [in perpetuity] on PANDORA, Australia's official archive of online sties of significance and long-term research value. Please click HERE I am really pleased to have my work acknowledged in this way.