HERDSMAN LAKE PERTH WESTERN AUSTRALA 2006- "The mirroring figures of Maslen and Mehra play a role similar to that of these shadowy figures, even if the reflected segments of nature impart an interior delineation to them and the viewer comes to fantasize real clothing for them, for example the weapons and uniforms of the figures which are ofter thereby made recognizable as soldiers. there is a simple explanation for the reason why human visions reacts in this way. the landscape reflected upon the shape is not considered to be real by the normative criteria stored in our consciousness. it is automatically replaced by an interior structure, which is more appropriate tot he exterior figuration. the human being flows out of his natural limitation, as it were, into these diverse, occasionally magnificent landscapes. the metaphor of a mirror man awakens nothing other than the primal longing to be concocted once again in an integral manner to nature. human beings in the landscape are a quite common toppos, which extends through out art history. they refer to the primal scene to the banishment form the paradisiacal garden through the knowledge of good and evil. ever since this original exile, humanity has striven to reduce the intervening distance, to attain once again the homeland from which it became alienated through the mind, through cognition...they lose their subjectivity in reflection, which is projected onto the figures."-

bridget riley: "riley's paintings exist on their own terms. each work has its own character and each is self-contained in the sense that, like a piece of music, its structure arises from purely internal formal or expressive considerations generated by the relationships between its component parts.. it is perhaps surprising therefore to realize that the source of riley's engagement with visual experiences is nature. in her compelling essay "the pleasures of sight" 1984 she describes in detail the inspiration and joy she derived from looking at the landscape and the effects of light and weather during her childhood in cornwall.significantly such encounters with her surroundings are riley's first vivid memories of enjoying perception for its own sake. her account of these revelations strangle conveys a sense of sheer wonder in the act of looking: in part arising front he splendor if the natural scene, in part from the fresh,untainted gaze of the observer.a child's eyes are open to such experiences.that they occur less frequently in later life is lamented by riley and she concludes; "it seems to me that as an artist one's work lies in here"

couer de pirant- mistral gagnant