Artist’s Statement

Painting is a disciplined vehicle for exploring the relationship between the painter and the visual world. This relationship is a very complex and dynamic one which has evolved over hundreds of thousand of years.

Over the last 150 years or so, painters have investigated this relationship with new interests, technologies, and motivations. As a result, painting has taken on a whole new aspect, with radical consequences and opportunities. Our notions of color, its optical properties, operations, and functions, have transformed our ways of dealing with color as paint and of orchestrating color towards new pictorial consequences.

In this same period, our perceptions of light, color, surface, texture, shape, line, etc. and their complex interactions have forced a basic re-evaluation of "pictorial structure" and "pictorial space."

Our notions of what constitutes a painting have, of necessity, been radically altered and transformed. As an organism in space, a painter confronts a profoundly different world than that which he confronts as a painter, i.e. the whole world optically flattened out. What happens, for instance, to binocular vision, which evolved in a multi-dimensional world, when it is forced to deal with optical signals generated on a flat surface?

A painting then, is a visual language which mediates between our experience in the real world (nature) and the synthetic world of two-dimensional illusion which we call a painting. I see painting as having as much to do with physiology as with "aesthetics." Aesthetics is probably the consequence of physiology. That this synthetic visual world that we call a painting is able to express and convey powerful emotions and thoughts remains a source of wonder to me, for which I shall be forever grateful.

—Irving B. Haynes