"PIXELISM" is a creative signature developed by Shelley Batcules.
The name or term “PIXELISM” describes the visual attributes of the painted surface, and references the idea we now live in the digital World of pixels forming pictures. From the formal application process “PIXELISM” involves creating a pattern of brushstrokes that range from thick square shapes of pure paint, long layered lozenges, and thick paint that embeds mixed media elements.
From a historical perspective, “PIXELISM” derives from the tradition of Pointalism that combines the optical illusion of dots laid next to each other in patterns that the eye forms into shapes, along with the science of colour theory. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism. The term "Pointillism" was coined by art critics in the late 1880s.
“PIXELISM” explores and emphasizes the idea that art meets science in an act of connecting the dots into the digital age and the current Contemporary arena in terms of the imprint or fingerprint of pixels in the technological sense.
Breathe
The Alpha & the Omega
oil on canvas, 5'10" x 5'10"
A personal catharsis and abstract representation of human existence as translated through the dream state and conscious experiences that served as wake-up calls. Dreams are a personal fascination I explore and visually translate to to understand spoken messages during sleep. I incorporate the messages from lucid dreams in concert of cascading colourful pixels. Breathe is an abstract landscape style composition that guides the spectator on life’s pathway, its stages and steps of growth which move toward the idea of stimulating the big universal questions and belief based considerations like where do we come from and where are we going, as an example the revelation of alpha and the omega.
The content of Breathe in terms of its universality is reflected in classic selections from philosophers such as Plato and the Parable of the Cave notably “volte face” which serves as an appropriate metaphor for several of the expressions I attempt to express to the spectator:The world of appearances is compared to a dark subterranean cave, the world of reality to the brilliant light outside; the unenlightened minds of ordinary people have their counterpart in the prisoners in the cave, deceived by the shadows of puppets, while the conversion of the philosopher is symbolized by the liberation of a prisoner who is compelled to make a volte face and emerge into the dazzling light; his social conscience, by his return to the cave (and his need of becoming accustomed again to its darkness, however awkwardly, to set others free.
BALL BUSTER
(Oil/acrylic on canvas, 48"X72"
A collision of abstract automatism and objective representation defining the moment when realities intersect, "an awakening" within or after a dream juxtaposed with the physical "visual capture", simply put - the collision point between subconscious dreaming into the impact of conscious physicality.
The "Socratic Shell Shock" as the sphere explodes, also signifying the shell encasing the soul, bursting outward to avert a controlled formatted world that neglects unknown dialogue and forms of expression.
The space between the real world and the dream world, when worlds collide, the crashing momentum and lucid impact upon waking from a deep sleep, as though you are stone in a fast free fall toward the ground. This inspires the paradoxical metaphor of " the ground breaker" and the risks of breaking new ground - a sense that enlightenment expects the excavation of our personal ground where we are from and will one day return - in order to evolve.
Flickering zero gravity skies projectile the systemic sphere and heavy mass of societal pressure and population, an explosion into the weight of existence encased within flesh, the vulnerable role of being mortal in a material world, spiralling in the struggle to stop an inevitable impact on the flesh, as opposed to elevating the mind and spirit toward the eternal atmosphere. The thick impasto texture extends the three dimensional sensibility and space while a full spectrum of scientifically mixed colour expands the limitless nature of the dreamscape and alternate realities which open opportunities toward the exploration of fluid peace.
Accepted OUTCAST'S Median
(Mixed media on canvas, 55.5" X 79")
"THE MEDIAN" is an island, in the middle of the road, between the highway of hierarchical places, where consumerist materialism leads every level down the dirt road of struggle, starvation and survival of those fit enough to fight for freedom of expression."
A complex abstract autobiography visually documenting being "the median" between the highway of hierarchical consumerist materialism and the dirt road of struggle and starvation. The road trip of an altruistic artist is to identify crossroads, create bridges, cross the lines of communication, pave resolution, erase "road rage", deconstruct monetary roadblocks, and increase the positive flow of traffic.
Abstract communication of this complex subject matter required developing a collaborative alphabet incorporating compositional proportions, colour theory, words and identifiable symbols in concert with associative mixed media elements strategically organized to define the physical and psychological aspects inherent in societal boundaries. Elements such as caution and electrical tape, green glitter paper, easter egg foil and paint tube casings have specific metaphors that "drive" the drama.
SOuLE Path
Waking the Soul to Walk the Path
SOuLE Path: Waking the Soul to Walk Your Path explores the conscious (physical) and unconscious (spiritual) aspects of the human condition and existence. SOUL in spiritual terms is the invisible secret source of inspiration and instinct which guides the mind in gut instinct and decision making, while the SOLE of the shoe is viewed as a "real" functional object which protects the foot from the environment while walking the path of decisions.
Consider and contemplate the visible and invisible aspects of the words SOLE & SOUL.
1/ SOLE the visible human footprint notating a path or direction.
2/ SOUL the invisible human psyche, origin of spirituality, source of inspiration and instinct, and centre of transcendence.
SPINEHEAD
oil and acrylic on canvas, 48" x 60"
Spinehead represents both beginning and end, life and death. The canvas is split into a top and bottom composition by a distinct change in colour palette. From a psychological perspective the piece combines truth and fiction, conscious (what can be seen) and unconscious (what can’t be seen), what is above and what is below. The title “SPINEHEAD” and image is drawn from two sources with similar structural qualities: one real and the other fictional and theoretical. The first is a God’s eye (top down) perspective of a marginata cane plant. The second is a film figure known as the archetypal figure of the master or maker of the machine world matrix or system that faces “Neo” at the culmination of the third matrix film. A digital sketch was created as a reference to the larger oil painting with composed layers of images giving the opportunity for colour and composition experimentation prior to completing the final piece.
GRAVITY ON FIRE
Mixed media on canvas, 48" X 72"
GRAVITY ON FIRE is an abstract landscape mixed media painting that was painted as a creative response to or therapeutic process during the era of 911. Although the picture deals with a very heavy subject of human disaster its subtle abstract visual effect is intended to counter tragedy and inspire hope that many strong souls exemplified during this adversity in human history.
GRAVITY ON FIRE is intended to create a sort of metaphoric paradox.
The gravity and weight of the act of the few and the magnitude of the consequences of this devastating event on the many both literally and physically creates a mass psychological sense of a weightless loss of control. The moment of impact when flight turned to frenzy, when many felt frozen in time and time felt frozen as people stood at their televisions stunned and suspended in a zero gravity atmosphere attempting to overcome a feeling of hopelessness, grasping to ground themselves and solidify some semblance of understanding how and why this could happen.
Red, white and blue is the palette representative of the United States with the left side of the composition representing the fluttering flag floating in an atmosphere of zero gravity, while the central and right side of the canvas serves as a metaphor for the twin towers. Inlaid glitter serves to represent the fallen spirits whose light will shine on in the zero gravity of the next dimension.
PORTALS
Oil and Acrylic on canvas, 49"X72"
An abstract portrait construction that explores the duality of reality in concert with fiction.
In reality from an architectural point of view, a portal is a monumental gate or door or can represent the extremities or ends of a tunnel – metaphorically speaking the beginning and the end. The canvas is built up of sections that divide the face that forms the “building of the mind”.
In the fictional realm, a portal is a magical or technological doorway that connects two locations or from a quantum perspective connects points in time. The eyes look upward seeking knowledge and enlightenment while the radial formations radiate the sonic vibration of the soul and the sound waves of the inner voice that travels infinitely through space and time.
VERIGO
Oil and glitter paper on canvas, 48" X 60"
An abstract mixed media painting measuring 48 X 60 inches. The theme is "truth," in Latin Veritas, and is composed within the Constellation Virgo that captures the Fall of Icarus in a pool of oil, glued down by glitter. The narrative stages the Story of the fatal Fall of Icarus; the Icon that instilled an idea that identifies the risks and stakes man makes to give merit to himself, forever pushed by the personal passions of parents, to push himself to penetrate the limits to the point of being paradoxical, by attempting to achieve the impossible. The idea of “being your own Man” machinates an intense introspective “(internal)” and “)external(“ pressure to invent innovation to announce an “Age” and aspire to ascend over Aeon’s, to accelerate past the finish line, and make way to eclipse and escape the mundane of the “everyday” example of life, that left UN-checked will unleash a label that leashes and lashes throughout life… Such an effort notes the need to check and balance narcissism, seen in the myth of Daedalus and Icarus, a story of how necessity facilitated the invention of something that was never meant for man and how it led to his downfall, showing us that the power of man has no limits, but also that we should be very careful how to use this power.
SEESAW
oil on canvas, 48” X 55”
The driving creative force behind See/Saw is the metaphor of past and present and the ups and downs of learning through experience. In this case Batcules uses her distinct abstract technique to create a layered, textural visual blind effect illusion comprised of linear bands of colour using the scientific principles of colour theory to create a push/pull, foreground/background effect with the intent to create a sense of looking through a window to another reality.
The centre band has a dark hole at the centre suggesting a black hole into the unknown and unseen creating a complex psychological relationship and vibration. The thick downward strokes of light that drag across the blinds creates a sense of sawing through the window blinds creating harmonic and/or disruptive relationships depending on the movement and vibration of the intersections and how they stimulate new sensation and subject matter.
BLACK MATRIX
Mixed Media on canvas, 30”X40”
Often when Batcules paints abstract forms and landscapes she utilizes the title of the work as a take off point for the viewer to begin the journey of embracing ideas that are not visibly recognizable in the “real world.” In this case, the title “Black Matrix” explores the idea of the societal matrix. The primary black and white palette expresses the notion of what can be viewed as black and white while the mathematically proportioned grid composition opens the idea of looking at how the many parts make up the whole.
Each pod or section within the matrix is customized to express individual personalities living within the matrix community. Different techniques, materials and in some cases colour palettes are used within each square to create distinct emotional expressions and reactions. Some squares have patterns of rotating brushstrokes surrounding openings reminiscent of black holes to create a vortex of feelings while others have toilet paper-mache landscapes giving a sense of a torn textured landscape and brightly coloured palette inserts taken from past work enliven the idea of the individual spark and spirit that can form in solitude.
Ultimately the idea is to suggest that each person is unique and individual – with an immortal soul - not just a cog in a wheel – otherwise known as the construct of society – or the “Matrix.”
We each have the ability within to find true freedom.o is compelled to make a volte face and emerge into the dazzling light; his social conscience, by his return to the cave (and his need of becoming accustomed again to its darkness, however awkwardly, to set others free.
WHITE MATRIX
Mixed Media on canvas, 30”X40”
The title “White Matrix” explores the idea of the societal matrix. Although the title focuses on white the multi-colour and tone palette expresses a range of feelings and events that may take place within a consistent mathematically proportioned grid composition suggesting how the many parts make up the whole. Each pod or section within the matrix is customized to express individual personalities living within the matrix community. Different techniques, materials and in some cases colour palettes are used within each square to create distinct emotional expressions and reactions. Some squares have patterns made up of toilet paper-mache landscapes giving a sense of a torn textured landscape and brightly coloured sections enliven the idea of the individual spark and spirit that can form in solitude. Ultimately the idea is to suggest that each person is unique and individual – with an immortal soul - not just a cog in a wheel – otherwise known as the construct of society – or the “Matrix.” We each have the ability within to find true freedom.
"Black-Eyed Me"
A mixed media painting composed on board using acrylic and oil paint, black eyed peas, napkins, toilet paper, gift paper and coffee beans.
The Message and the media of the Black Eyed Pea is mixing food with thought utilizing everyday food staples and products as a mixed media tool of expression. The painting Black Eyed Me was commenced while conducting an art as therapy program called the Community Arts Collective (CAC) which painter Shelley Batcules and husband Imre Torma designed as a therapeutic creative process to communicate and express personal struggles related to poverty and mental health. The “community” group environment stimulated people to reach out of their isolation in the realization they were in a safe environment predicated on the tenets “love, compassion and respect” allowing them a new found freedom to learn, express and creatively cope clear of the shame, stigma and silent psychological struggle related to mental health.
The Power of Art Therapy & the Process of Building Community
Shelley and Jim developed an art therapy in-patient program at St. Joseph’s Health Centre where Shelley and Jim worked with patients dealing with serious mental health issues. Many patients required long term regular care or additional support following release from the hospital, however few accessible and affordable outlets existed. Shelley and Jim developed the Community Arts Collective as an extention of the in-patient hospital program, which became a regular accessible out-patient program held weekly in a local Parkdale - High Park church. The CAC program was open to all people in the community interested in accessing the power of art therapy and the sharing of ideas and breaking bread with people facing the same loneliness many feel in the isolation of depression, bi-polar disorder, agoraphobia, schizophrenia among others.
CAC was designed to include the culinary arts by incorporating food, nutrition and cooking practices during the art making process. Local grocers and markets donated produce for the making of fresh meals every week. Jim and Shelley would teach participants how to create healthy four course meals on an extreme budget, often feeding 40 people on $40.00.
