ICUL CTION Special Edition ART A C o n t e m p o r a r y A r t R e v i e w Special Edition your evolution as an artist? Moreover, how does yourcultural substratumdirect the trajectory of your current artistic research? Gregory A McCullough:Hi all, and thanks for the invite. My background has definitely given orientation to my artistic explorations. I've studied Industrial Design, Studio Fine Arts and Computer Animation so the foundations of aesthetics and composition does filter how I see things. Having worked for many years creating the Digital 3D synthetic environments for training Pilots and Air Traffic Controllers, I’ve on a daily basis used visual tools where it is the norm to see things in a multitude of manner: initially as wire frame; then textured; maybe zoomed in; via procedural algorithms; statistical loads ... – To wit, to see and analyze something I’ve had to daily visualize it differently across multiple representations, mediums and platforms. So it’s normal for me to want to explore things through many different perspectives and forms. Even so, it is in the day to day moments that my wonder first gets hooked on. I find that as artists, it’s this, -how we approach the world, our ways of seeing and knowing - that we express ourselves through. We all might re- present what ever those insights and moments of awe are, but our art is rooted in our daily experiences and the meanings we gleam of/from them. The bout 1.08; 2021; 76cm x 48cm, Spittling, Oil on ca Our Cultural Substratum changes as we strengthen our roots deeper into what is of world. There is a lot of mundane out there, value and interest for us. The sculptor Bill Reid and to revel in the moments of wonder, the teaches us the richness that can come from astonishment from something unexpected that. I think what I try to creatively tap into or enduring, feeds the desire to cherish and initially, is the wonder that surrounds us in the ‘soutien’ what I see. Keeping this open