ART Habens Art Review // Special Issue 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? 21 4 06 Special Issue