The Mind Is A Zoo

Shore Lines by Dan Nuttall
Dan Nuttall, SHORE LINES, acrylic on wood panel,  4 x 8′, $5000 CAD

The landscape in this painting was created through the reconfiguration of an abandoned bear exhibit found in a zoo. Originally opened in 1962 the bear exhibit expresses the era’s design thinking – nature simplified, abstracted into modern geometries that keep the animal contained and on view while accommodating the display of some behavior patterns. If the exhibit’s role in animal containment can be set aside the bear exhibit is actually quite a beautiful assemblage of shapes and spaces, a giant concrete sculpture squatting in a bowl, a sunken hollowed-out Guggenheim. The composition has clean lines and hard edges with nature abstracted as tunnel, bridge, pond, cliff face, edge, promontory and plain. The eye can discern different paths for movement and the minimal slopes that accommodate both the need for maintenance and animal safety.

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Dan Nuttall, “Mimesis 1″, acrylic on wood panel, 36 x 36”

Mimesis is defined as imitation. Mimicry, for example is a form of mimesis in which, over evolutionary time frames, one group of organisms evolves to share the characteristics of another group – often as a form of conferred protection. The role of mimesis extends to the act of painting itself – artists try to imitate things. To what end the serialized imitations of nature found in art?

 

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Dan Nuttall, “Mimesis 2″, acrylic on wood panel, 36 x 36”

Initially, the bear occupied an in situ habitat which was re-imagined as an ex situ zoo exhibit. Using the ex situ exhibit as a starting point the painting reorganizes the exhibits design language and, this time, imagines a novel “wild space”, transforming the exhibit into another habitat, a new wild. This new wild, metaphorically speaking, “returns” both the bear and the viewer to the wild. Further iterations are possible. In the painting the repetition of lines and shapes creates repeated spaces. The repetition allows the eye to make comparisons and to begin to sense pattern and discrepancy – akin to an animal surveying its surroundings. The repetition of form, with its genesis in nature should seem familiar to us – the observer is a sensing animal after all – and introduces a kind of déjà vu – a recollected story told through the repeated use of known words or phrases. What we know, as human animals, is coming back to us, inverted and flipped, playing with our perception and yet familiar.

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Dan Nuttall, “Mimesis 3″, acrylic on wood panel, 36 x 36”

The oneiric state of the painting provides an overarching serenity linking both the familiar and the strange. One wonders what animals dream when they are born in captivity and exposed solely to a single environment. Is there still something deep and rudimentary that can arise from a genetic or shared consciousness? Some archetypical memory? As one gazes, the familiarity of lines and compositions is upended by the congruency of the synthetic whole and the desire to make sense of it. The water in the lower right hand corner of Shore Lines places the observer in the water, looking at the shore, as if in a boat, possibly adrift. There, at the edge, notions of distance, containment, barriers to movement and isolation come to the fore. Animal movement is naturally limited. Islands, mountain ranges, rivers, oceans. Is this the ultimate conundrum, coming to terms with the kinds of spaces animals will inhabit? How big should they be? Who should control inputs and outputs? Which species get to survive? Is domestication going to be the ultimate destiny for anything we allow to survive? Does it matter whether bars are visible or invisible? Does it matter that our dreams are merely stage sets designed by those who construct and narrate our realities? What thoughts should we be having about the fate of non-human animals? You can dwell on that HERE.

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Dan Nuttall, “Mimesis 4″, acrylic on wood panel, 30 x 40”

 

These paintings will be on display at my first solo art exhibition, at Lee Contemporary Art in Orillia, Ojtario, August 10 – September 2, 2017. More about Lee Contemporary Art HERE.

You can see all the paintings in the above show HERE.

And find out more about my larger  body of work here: www.dandoesdesign.com

 

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Naming, Freedom and Responsibility in Art

 

dan nuttall art west coat (killer whale) diptych layout 1

For the most part I tend towards abstraction. To me this means that there there are no immediate and obvious visual references that come to mind. Right away I feel a kind of freedom. Abstraction doesn’t tell you what to do – however – it doesn’t mean you’re NOT being manipulated or influenced by what is on the canvas. What do you see in the un-named image above? Take a moment or two. Spoiler alert, the paintings get named below.

dan-nuttall-dandoesdesign-art-painting-Harris abstract landscape in cool blue
Abstract in Cool Blue 1 by Dan Nuttall

The “lack” of easily understood visual references doesn’t mean that that there is “nothing” there or the work  lacks intellectual content. Every piece has some sort of genesis, some sort of impulse, some idea suspended in a moment or across millions of moments that blend together, braiding the stream that carries the artist’s work over the falls. Staying afloat/engaged/ immersed is the hard part. Picture a month at sea on a raft made of a single thought. Reaching a shore with a painting is the goal.

Naming an abstract piece as “Untitled” or with a simple descriptor (e.g., “Abstract In Cool Blue 1”) helps maintain the “openness” or sense of freedom in accessing the work. It’s still wide-open to interpretation. Naming a work is a sort of nucleus, the grain of sand in the thought-oyster. Ideas coalesce around it.

dan nuttall art west coat (killer whale) diptych layout 1
West Coast (Killer Whale) diptych by Dan Nuttall

When I named the diptych “West Coast (Killer Whale)” it’s because the stream of consciousness wetting my pigments involved a cascade of thoughts about my life on the West Coast of Canada, my time around killer whales, my love of the woods and wood and water, the errant tangy salt and brightness that stung my eyes, the cooling reprieve of depth – deep green-blues – the smell of cedar, sleek black skin steaming at the surface, the gentle push of wet spilling over flanks.

As an artist I also like how abstract work escapes comparison to some version of perfection (“That’s a terrible painting of a sunset”). And yet, when we look at wildlife art the urge to depict accurately and realistically images of the things we see – is rote. Of course there is no perfection and the “errors” are perhaps where things begin to get interesting.

Dan Nuttall art great currasow bird
Great Curassow 1 by Dan Nuttall

For me, I am always wondering about the animal perspective and so the eye, the face, and body language play roles in establishing how the animal is relating, in that moment, to the world. The artist, in a sense, becomes a manipulator of the animal and questions of responsibility entail. I like my birds proud, and magical, a bit mysterious, any realism directed toward capturing and holding the eye of the beholder to induce respect and appreciation, and to allow wonder in the forms of questions: How do such creatures exist?  What are their fates to be? Look these animals in the eye and tell me what you see.

Great-Curassow-2-web

 

Now You See It… Now You Don’t

Abstraction.

I love the indeterminacy of abstraction and the way the brain is forced to take a flat surface and force depth into some areas of the canvas while bringing other sections toward the viewer. The same area of the canvas can experience both phenomena. Must we always infuse dimensionality? Can we accept “flat”? Is the dimensionality the result of the mind’s action on the painting or the action of the painting on the mind (colour, stroke, contrast)? How does your mind make sense of the following images? What do you see?

Abstract in Cool Blue
Abstract in Cool Blue
After Klee
After Klee
Intersection 1, 2, 3, 4
Intersection 1, 2, 3, 4
Jazz
Jazz