As a landscape painter with an interest in science, spirituality, and the nature of reality, I am intrigued with the Transcendentalist philosophers and Luminist painters of the 19th century. I identify with their belief that nature, and light in particular, are spiritually symbolic. In an effort to understand my subject more completely, I have also developed an interest in modern physics. Coincidentally, as well as signifying spirituality, the particle that gives us light, the photon, is a primary vehicle for physicists to better understand the workings of the universe. My interest in the physical and spiritual implications of light are some of the many reasons why I base my studio paintings on plein air studies and choose to not include photography in my art making. Light is composed of photons, and as a photograph contains no photons and possesses no inherent spirituality, it would be impossible for me to paint real light from a photograph. Although my studio paintings are often from my imagination, they are informed by thousands of plein air studies which lend emotional and empirical truth to the imaginary scenes depicted. Ultimately, the slice of reality that man is capable of experiencing and the higher reality just beyond our grasp that permeates time and space is my true subject. Landscape painting is the vehicle which allows me to make the most profound connection with that realm.
As a landscape painter with an interest in science, spirituality, and the nature of reality, I am intrigued with the Transcendentalist philosophers and Luminist painters of the 19th century. I identify with their belief that nature, and light in particular, are spiritually symbolic. In an effort to understand my subject more completely, I have also developed an interest in modern physics. Coincidentally, as well as signifying spirituality, the particle that gives us light, the photon, is a primary vehicle for physicists to better understand the workings of the universe. My interest in the physical and spiritual implications of light are some of the many reasons why I base my studio paintings on plein air studies and choose to not include photography in my art making. Light is composed of photons, and as a photograph contains no photons and possesses no inherent spirituality, it would be impossible for me to paint real light from a photograph. Although my studio paintings are often from my imagination, they are informed by thousands of plein air studies which lend emotional and empirical truth to the imaginary scenes depicted. Ultimately, the slice of reality that man is capable of experiencing and the higher reality just beyond our grasp that permeates time and space is my true subject. Landscape painting is the vehicle which allows me to make the most profound connection with that realm.
http://www.josephmcgurl.com/