Aiman
#958d7e, 2025
oil on linen
95 x 169 cm
'Light from the Window at Right takes its title from neuropsychological research by Bradley Johnstone, which observed that changes in the brain’s right parietal lobe—an area linked to self-perception—can give...
"Light from the Window at Right takes its title from neuropsychological research by Bradley Johnstone, which observed that changes in the brain’s
right parietal lobe—an area linked to self-perception—can give rise to an expanded sense of relational awareness. The series begins from that
insight: that the self is never fixed or closed, but porous, shifting, and always formed in relation to others.
The works unfold as fragmented landscapes—seas, deserts, mountains, skies—archetypal terrains through which human experience is imagined.
Each painting isolates a different threshold: birth and loss, solitude and community, endurance and hope, clarity and unknowing. Surfaces are
layered, folded, blurred, or marked, evoking the ways perception unfolds—at times partial, at times obscured—and inscribed with childlike
scribbles that trace the persistence of dreaming within unknowing.
What binds the series together is not a single motif but an orientation: an insistence on holding tensions without forcing resolution. Darkness and
light, faith and unknowing, form and formlessness, individual and communal—all remain in play. The works trace the persistent threads by which
meaning coheres, however incomplete, reflecting on the powerful ways we are held together."
right parietal lobe—an area linked to self-perception—can give rise to an expanded sense of relational awareness. The series begins from that
insight: that the self is never fixed or closed, but porous, shifting, and always formed in relation to others.
The works unfold as fragmented landscapes—seas, deserts, mountains, skies—archetypal terrains through which human experience is imagined.
Each painting isolates a different threshold: birth and loss, solitude and community, endurance and hope, clarity and unknowing. Surfaces are
layered, folded, blurred, or marked, evoking the ways perception unfolds—at times partial, at times obscured—and inscribed with childlike
scribbles that trace the persistence of dreaming within unknowing.
What binds the series together is not a single motif but an orientation: an insistence on holding tensions without forcing resolution. Darkness and
light, faith and unknowing, form and formlessness, individual and communal—all remain in play. The works trace the persistent threads by which
meaning coheres, however incomplete, reflecting on the powerful ways we are held together."
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