The Radical Possibility of Seeing What Is Front of You

October, 2017

Drawing: Research, Theory, Practice, 2018

Scientific Data through Graphics, 2012

The Synapse Group at the University of Akron was formed to explore enlightened collaborations between art and science, and to probe the ideas, images, and mutual interests connecting art and science professionals and disciplines. This chapter presents selected artworks created by members of the group. A major theme of this chapter is visualizing water that is unseen, such as invisible underground water or imaginary virtual water. Also explained in the chapter are the inspiration processes by which those artworks were created.

South African Journal of Art History, 1993

In accordance with Seerveld's cartographic methodology 'visionary optics' is defined in terms of a recurrent set of connections between a certain type of pictorial representation and visual perceptions of mythical meaning. A perennial typiconic format stems from the tradition of painting historically associated with 'mythologising' thought patterns and worldviews. The cases examined to trace the development of the visionary format include examples of Bushman rock art, mural decoration from Roman antiquity, medieval altar painting, history painting from the Renaissance, Romantic landscape painting and modern abstract painting. In aansluiting by die kartografiese metodologie van Seerveld word 'visioenere optiek' gedefinieer in terme van blywende verbande tussen 'n besondere tipe van pikturale uitbeelding en visuele persepsies van mitiese betekenis. 'n Tipikoniese formaat stam uit 'n tradisie in die skilderkuns wat histories met 'mitologiserende' denkpatrone en wereldbeskouings geassosieer word. Voorbeelde van Boesman rotsskildering, Romeinse wandskildering, middeleeuse altaarskildering, historieskilderkuns uit die Renaissance, landskapskilderye uit die Duitse Romantiek en moderne abstrakte skilderkuns word ondersoek ter illustrasie van die ontwikkeling van die visioenere formaat.

Australian Journal of Art, 1999

Vision, in its many forms, can be categorized into territories over which perception of the physical world reigns. However, as this vision is constituted through fallible senses, ideologies, and judgements, it can be as mediated as its counterparts. This photo-essay discusses an ongoing body of work re-envisioning visual perception within this context. Visual encounters, from physical, to simulated, to imagined are positioned as territories which are made to overlap through the outlined works. These range from moving image, to photography and installation. The thematic motor for these works is the idea of an ever-mediated reality, positioned here in the context of media studies. A brief overview of some fallacies of vision is laid out and linked to the artist's approach to research-based art production, of which three works are described. The first, " Landscape, Cutout " , deals with vision only ever revealing the past. The second, " Constructions " , consists of stereographic images proposing concurrent zones of incongruous sight. The third work, " Le marronnier " , manifests a pivotal image in existentialism depicted in Sartre's " Nausea ". Throughout, this text, the artist underlines the importance of questioning how our sight compares to one another's, and why only some visions are regarded as true.