The practice of oil painting landforms, rocks and sea water in Jervis Inlet, British Columbia (BC) puts me in dialogue with land’s resistant alterity.  By closely attuning to landforms, and by stepping back and blurring my focus at regular intervals while practicing oil painting of landforms, I experience phusis of land and of my painting.  Through self-concealment and emergence, land alternates between revealing and enfolding its character, resisting my human comprehension but speaking to more-than-human elements in myself.  The slow accretive process of oil painting lends itself to phenomenological research, taking days and weeks for paint to dry before new layers can be applied.  This slowness produces phusis within me as an artist, as I am forced to withdraw from the painting while its layers dry and we reassume an unfamiliarity with one another as dual subjects.  Through oil painting, landforms’ alterity shifts towards familiarity.  Earth’s elements originate in deep time, pre-dating human experience.  Cycling within me is a repository of minerals, water, and salinity originating in deep time.  This draws attention to alterity within my own body.  By practicing phenomenological research through painting landforms, I encounter the phenomenological paradox of deep time and come face-to-face with the originary elemental origin I share with landforms.

中文翻译：

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绘画深时间：通过现象学和油画遇到地貌的异质性和Phusis

在不列颠哥伦比亚省杰维斯湾（Jervis Inlet）的油画地貌、岩石和海水的实践让我与陆地的抵抗性异质性对话。贴近地形，在练习地形油画的过程中，时不时退后一步模糊一下自己的注意力，体会到土地和我的绘画的乐趣。通过自我隐藏和浮现，土地在揭示和包含其特征之间交替，抗拒我的人类理解，但对我自己的超人类元素说话。油画的缓慢增长过程适合于现象学研究，需要数天和数周的时间让油漆干燥，然后才能应用新的层。这种缓慢在我作为艺术家的内在产生了phusis，当我被迫退出这幅画时，它的层次变干了，我们重新假设彼此不熟悉作为双重主题。通过油画，地貌的异质性向熟悉性转变。地球的元素起源于很深的时间，早于人类的经验。骑自行车在我体内是一个源自深渊的矿物质、水和盐度的储存库。这引起了人们对我自己身体内的异质性的关注。通过绘画地貌实践现象学研究，我遇到了深层次的现象学悖论，并与我与地貌共有的原始元素起源面对面。和起源于深层时间的盐度。这引起了人们对我自己身体内的异质性的关注。通过绘画地貌实践现象学研究，我遇到了深层次的现象学悖论，并与我与地貌共有的原始元素起源面对面。和起源于深层时间的盐度。这引起了人们对我自己身体内的异质性的关注。通过绘画地貌实践现象学研究，我遇到了深层次的现象学悖论，并与我与地貌共有的原始元素起源面对面。