ART Habens Art Review ART Habens Art Review - Special Issue #89 | Page 105

Joshua Healey Lapena
ART Habens
isolation within a frozen landscape. There is no
space outside a Zone of Proximal Development
(Vygotsky’s ZPD) where spatial awareness and
language acquisition come together. This is unlike
Piaget’s thinking where they are just properties
that can be combined in any way to satisfy
particular prejudices.
My work acts as the development of a portal to
the unknown unknowns’. This helps to open new
doors from the viewers’ feedback. Possibilities are
like cause and effect; the outcome may not be
ideal. The fractured works are a more abstract
way of exploring the technique and material
properties of the paint than the vision works. Art
copying art is an interesting theory, but I’m not
trying to relate my practice in such an obvious
way to any art historical context. There are
influences, like that of surrealism,
supernaturalism and abstract expressionism.
Unlike the use of presupposed aesthetic, I think
my fractured series are more authentic
explorations of experience. The brush strokes are
segregated by bands, so that their limits as free
movements are contained. Their concept is far
more universal and open to interpretation than
just an affect produced by some mindless gesture
representing the artists state of mind. Jung says
the collective unconscious can remain hidden like
an animal or anagram. They are not just about
possible futures, but the meaning of an actuality
that is unknown and can even be unknown to the
unconscious. Although I haven’t transferred what
these concepts would mean to a virtual world, I
do make use of photoshop; I see tech as a tool
which is not as important as what the
composition of its material means.
You draw a lot from real and imagined
environment and the landscapes that you paint
never play the mere role of backgrounds: how
would you define the relationship between
environment and your work?
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