Visual Art

Visual art practitioners engaged in the study of experiential reality, often intuitively manifest flashes of perceptual structure in their works.

The Blue Vase, 1889-90, Cezanne, Oil on Canvas, Musee d’Orsay, Paris.

My still life drawing in the centre with fixation indicated by a cross. Artists record the asymmetries involved in the perception of symmetrical objects as we contemplate form.

We can deploy aspects of perceptual structure in other forms of visual media and hence improve its saliency if we model visual awareness.

Implicit spatial awareness expresses as a field of proximity cues involving disordered data equivalent to texture that increases with distance from fixation. Still life with screen John Jupe 2011.

Still live with vase and spatial context John Jupe, 2000

Outside central vision, implicit spatial awareness belongs to a separate ecology which is not dependent upon the fundamentals of optical projection.

Ransonmoor pumping station John Jupe 2023 – A condensing field of implicit spatial values.

The phenomenological significance of this implicit ecology is understood by few, the implications for science even less. This situation is perhaps understandable as, each artist adopts their own mark-making strategy to account for their experiences with science dismissing the whole pursuit as subjective introspection. Until a comprehensible articulation of perceptual structure and its systemisation within technology occurs, the endgame is just not in sight. What we have all been exposed to on the walls of our national galleries are the intriguing but inaccessible pieces of a jigsaw without the associated understanding that they are pertinent to the formation of a new form of illusionary space. The pieces remain odd shaped bits and pieces that can’t be placed in the existing ‘picture’ of reality because they belong to a new way of addressing the nature of reality. The are outside the set.

I have been attempting to come to terms with the situation for most of my life (fifty years of work) and the paintings together with the accompanying texts and technology development form the record of that engagement and research. As this preoccupation progressed, there were world events that crashed through to make their perhaps unrelated impression.

Russian Fantasia, 2022 Oil on canvas & hessian 162 x 140cms. Links to Paintings/ gallery

Moving forwards with the studio work, the fundamentals of Vision-Space have now been identified, painting production will seek to use the system more than further investigate it. This is how it should be of course.