- offmyeasel
- Galleries
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Chronology
- 2022 >
-
2021
>
- Joy
- Red Carpet 1.0
- Poppy Garden
- Reflection; refraction; distortion
- to the finish post
- Lady Glaze
- Grimsby haunted
- the autoshow
- In the shade
- Black Skates
- Swimming Lesson
- Thunderstorm over Lake Erie
- The Drive: Return from cottage country
- Summer Concession
- Morning Dew
- The Drought
- The Cricketer
- Beach Stairs
- Blue Western Skies
- Paris Inn
- Still life studies
- Summer sunshine with teal
- Museum musings
- The Goalie
- Roadside Bouquet
- The Hockey Game
- The Bout
- January Lake Surf
- Snooker
- Fragile
- Postcard from the edge
- Winter Surf
- Clothesline
- Window with Wall
- The Walk
- The climb
- Colour Commentary
- Hockey Season
-
2020
>
- Open
- Winter Surf
- Beachfront
- After Sergio
- South Coast Cookhouse
- Side Street
- Lintel with green
- Garage Breaktime
- Autumn Grazing 3.1
- Trick or Treat
- Thanksgiving embers
- Koi dance
- Bird of Paradise
- Agricultural forms
- Visual Interlude
- Back Alley Bins
- Night Heron 1.11
- Grasshopper
- Sunflowers
- SAILING
- Sunflower 8s
- Heron
- Diving
- Graffiti Alley
- Summer Breezin'
- Sunflower 7.4a
- Mabel's Pizza
- Grand Vista 3.0
- Beachcomber 2.5
- Brown Door
- Lock Footbridge
- Night Flower 3.7
- Unfurling in green
- Fungi on wood
- Abandonned Truck Cab : Natures Abstracts
- Social Distancing
- South western patinas
- Covid 19 coffee break
- Murs en blanc
- abandonned tires and passages
- O'Hara Mill Homestead
- Red barn paddock
- Dundas Brewhouse
- Balzac's
- Passageways
- Melodies in blue
- Snowfall 022020
- Mallard 4.9
- Windowdressing
- London market grill
- Winter Landscapes
- Curiosity
- Winter refuge
-
2019
>
- Flutterby
- Sunday morning coffee
- in the doorway
- at the edge
- Chinese Herbs
- Double Entendre
- First snows
- Gage Park Diner
- Remebrance day 2019
- Apple Harvest
- Descente a la plage
- Farmers Market in orange
- The superior aesthetics of loitering
- Salmon run 2019
- Morgan 44 -8.2
- Summers End
- Migration
- ART vs TECH as GAN
- Order on line
- Venetian Meats
- Summer Harvesting
- Honda Indy Toronto 2019
- Morning Irises
- Hillside in sunlight
- Feathers in grey
- SPIRO
- Aviary 346
-
2018
>
- Sand Graffiti
- October Evening Harvest
- Grand River
- The game
- The fortement
- July celebrations
- Buoyancy in blues
- The decision
- Magical Blue Skies in red
- Vatican Fuschia
- RBG : In the river valley
- Bullrushes
- Spur Line
- Abstract 4
- Rural Landscape
- Sunflower #12
- Magical Blues
- Red Balloon
- Lines
- Water: B & W
- Horizon Slip
- Gravity Vortex
- Gears
- Retail narrative forms
- Thompsonian snowbirds
-
2017
>
- Digital Dysfunction
- Autumn Boreal Forest
- Suspended bridge
- Autumn PeeGate
- Food colour systems
- Waupoos harvest, fond fonce
- Waupoos harvest, ground in white
- Stringed instrument origins
- Caterpillar yoga
- South Garden Tinkerbells
- Side yard garden shed
- If light dissipates
- Confessional
- Oasis
- Winter Flight
- Time Drift 17
- Paleo Tattos
- Signal and Noise
- Colour Juxtapositoins
- RBG: Studies of grounds in green and blue.
-
2016
>
- Winter Light
- Silent Vigil
- Memory as Patina
- The Apiarists
- Reading
- Bohemian Waxwing
- Predawn Garden
- the gatherings
- Berger
- Migratory feeding
- Tulip 2016
- Bird furniture
- The bee keepers
- The Beekeepers 168
- Urban Waterfront Series
- Winter Perch
- Marsh Spring
- Found in Translations
- Disentangling the tangled garden
- Education lights a fire
- Jeremiah
- Teal Pond
- Julian Barnes
- Archimedes dreaming
- Bovine
-
2015
>
- Breakaway
- Rabble of ravens 1
- Vortex of difference
- Reading the trail
- The bench #2
- The journey begins
- On frozen pond : (post season)
- Colorflage strategies
- Form by any other color
- Redux A
- Overhead Perch
- Fuschia
- Study in white 2
- Rex head
- Mechanosaurus
- Sideyard skull
- Art begets
- Backyard Daffodil Still Life
- Propensity of meaning
- Pre "I-Drive" Era
- Annie's Sister - redux 1
- Listening to images.
- Figure Skate
-
2014
>
- Pre GoogleDriver -Release History
- IBM portrait studies #5
- this notion
- Emerald Grotto
- Ancient Byways
- Autumn Cabbage
- Off Stockdale Road, ...
- At the field edge
- Under the rose petals
- Composition in Fasteners
- Periods of transition
- Black Sunglasses
- Lake Ontario - March
- Lead positioning
- Hope
- Mobiusesque push
- Immediacy & nostalgia
- Musical interlude
- The lost prologues
- Triple salchow
-
2013
>
- Dreams
- This kiss
- juxtaposition in grey and white
- Feathers and woolen fields
- Red Figure
- Shaman
- Shaman #2
- The pilot school
- Art ,beauty, theory and priorities.
- Blue collar
- The shaman's light
- SIlent mooring
- Catnap
- Purple Jacket
- Golden ground
- County cornfield in spring
- Horizon-scapes
- Painting only begins with vision
- The advent of jewelry
- The raku apprentice
- Shadow cinema
- Spring Horizons
- Patina & Portaiture
- Winters last waltz?
- Return Migration
- Christmas Snowfall
- Release
- Pursuit and reading meaning.
-
2012
>
- Considerations on augmented paintings
- West of Amherst Island
- December Cadmium Orange
- Young turkey
- Parks Studio Road Crossing
- Beside the orchard
- Heirlooms and contemporary
- Art shrink wrapped
- Poppy 11.11
- The nephews funeral 3
- Attending to what is
- Upon a bed of gravel
- Among the hydro lines
- Interest in the interested
- Homo Collectus
- Brightons Mute Swans
- Triangulation & pointing
- Commonalities & distinctions
- The paintings never finished
- Derivatives and reflections
- The stone Herald
- Faces
- Eyeshadow in gold
- The boat (Belize)
- Saint Patricks
- Side studio door
- 2011 >
- 2010 >
- 2009
- Audio >
- Notes
- Interview
Human vision systems
Consider this: Our perception
of colour is provided by cones in the eye’s retina. About 6-7 million
cones determine our sensitivity to colour and are massed mostly in the
macula region. The center of which is the fovea centralis - our focal
region. Which kind of explains our bias in colour expression for
painting. Except that, we actually have at least two visual systems to
see the world. The second visual system is offered by our retina’s
rods. These are much more numerous, twenty times more so then the cones
- approximately 120 million of them. They are also 1000 x more
sensitive to light then our cones are. These rods surround the macula
region and offer incredible motion detection in our peripheral vision.
Yet since they are not focused based, you’ll notice something, turn to
look at it, and it will disappear as the focal area is full of cones
which are less numerous ans sensitive then the rods. Rods ‘require’ one
to “look” at things askance. The rod vision system is adaptive and
effectively becomes fully active only after about 30 minutes of
darkness. The rods are in a real sense our night vision system.
Peripheral, hypersensitive to very low illumination and “colourless”.
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So what if a painting “spoke” to this night vision system of ours? Why does art privilege the smaller cone vision system- effective only in the day hours? What would a painting for this visual system reveal? For one, it would in effect reveal itself over time. It would seem to change as our rod vision slowly became functional. It would disappear and reappear if we tried to focus on it. In effect, it would no longer be static, and would engage the viewer on a level as basic as night and day. It would push the boundaries of that assumption, that paintings are static and the viewer active. It might even start to address a way of knowing our world that the art world seems to have neglected in its history. |
Camera vision
The human eye is lumen sensitive, while the camera film or digital is increasingly being refined for greater sensitivity to low light, it remains to be noted that cameras are accumulative in terms of their lighting sensitivity. In other words, the longer they are exposed to light, the stronger the resulting intensity of light in the image. The human eye however is sensitive to changes in light, our perception doesn't increase in saturation, quite the opposite, we need a shift in our visual perception in order to notice the visual presence.
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* The upshot of this is that in taking pictures of the twisight painting genre, it may result in an image that is more saturated and stable then the actual viewing experience. Nothing beats the subtlety of the experience. |