PREFACE

It is true that beyond the point of the word “finished”, paintings and other types of works of art may say much more than the intention of the artist along topic, theme, subject matter, content, context or philosophy.

Ideally, it is within these lenses of communicative perception, that works of art on display should be viewed and given freedom to construct new mental images and meanings; or say what they can to the viewers without interference of verbal explanations from the artist.

Along the same trajectory, the painting being viewed may hence continue painting itself upon the invisible mental canvas of the viewer in new formations. In the process, the derivative potential of the picture and the creativity of the mind of the viewer are not cheated.

However, the explanation given above not withstanding, the matter of contention is that instead of viewers remaining as liberal submissive recipients of new images and content generated by the painting being viewed, they instead imaginatively paint over the painting in their sight with convoluted ideas and images generated by their free and fluid minds.

These new Ideas may not only distort the true content and meaning as given to the painting by the original exemplar, but may also be far too deviant from the Title, Theme, Content or Philosophy of the primary artist.

For that matter therefore, I find it plausible that for every artwork done by every artist, a base line or threshold of information about the piece done should be provided to viewers in writing.

Upon this background, viewers may juxtapose their free and independent deductions along  content, context or philosophy; as built upon by the artist. In the process, misinterpretations and misinformation about the artwork may be limited. That is why I have decided to provide information on a selection of my paintings; for posterity, education and visual enjoyment.