Hallsson, Jones, Decker, Julien, Poyner

Hlynur Hallson

Malcolm Jones
Shawn Decker
Lydia Julien
Martin Poyner
… may I submit this brief Tumblr’d collection of new & old work for consideration & as a starting point for conversation…

3 artists

Steven Lowery


Nick Spiers



Robert Reed

“Ceiling – The approach in Art, regarding any technique and its preparation, the psyche and its suitable and apt disposition, while preparing for and during the execution of any artistic act, through an open mind, with fresh thoughts, i.e., actual reflection and inspiration, as if a deliberation in expression of the technique’s capacity, helps in reaching for an ideal, a principle, an epitome.

Maybe some could track a paradigm in these words, a deduction from the major religions of humanity.  There is a shared trail to travel on in order to be free in elucidating and interpreting one’s surroundings; and yes, it then becomes a belief in its own right and has only the faith in itself to move it forward toward a resolution, a promise, a pledge, and/or to an outcome of a solution that never stops resolving.  Some of these considerations are also the qualities that accompany attitude in a religion … as well as other orders and disorders.

First wall – Perception is the realization of something existing, created by man or nature, consisting not only of space, but of space and time. It’s the recognition of the existence of an entity, a body, or an event.

The time needed to observe and record what is being watched, doesn’t seem to confirm an objective visual experience.

Second wall – Visual Stimulus

The meaning of envisioning something is analogous to putting into focus the visual essence of its exterior qualities.

The need to understand and identify or discern are important aspects that make up visual awareness.   Visual discernment is the capacity to assess and isolate all that is within a framed visual context.  We look because we question in order to define before receiving our answer, and what we actually see is what’s important for us within a framed visual context.

Third wall – Time

So far, we have never acquired the capacity to focus on several different objects in the same visual space at the same instance.  But we can do this in ongoing instances and at different intervals.  It’s how we arrange these images and visual stimulations in sequences that distinguish the way we communicate with and define our surroundings.   And this changes from era to era.

Fourth wall – Realization and Production of a Visual Space

The essence of doing consists of gathering information, but under this aspect, pure spontaneity cannot exist. One must be incoherent, oblivious and downright cataleptic in order to be truly spontaneous to his surroundings, but at that point actuality is sacrificed. Understanding your surroundings will render actuality which in turn stimulates participation. This is essential in communicating any message, including visual ones, admitting that a priority is to maintain contact with a following found immediately outside the focal point of something created …  Contact with a potential audience is essential to communicating, because it’s through the audience that a message will find its evaluation and appraisal, or refusal.

Floor –      Each generation of recipients have their direct contact with means and ways (methods) familiar and more easily understood in which to relate…

A true intellect has his feet on the ground…”