Gregory A McCullough ARTICUL CTION A C o n t e m p o r a r y A r t R e v i e w Special Issue my art is really about? Is it just an asking of: hey isn’t that cool? For ultimately, even if art is fundamentally simply about our ways of knowing the world, isn’t that knowing only of value if shared with others? You are a versatile artist and your artistic production challenges the logic of ordinary perception, urging the viewers toa participative effort, and especially to question the nature ofthe act of looking itself: Scottish artist Peter Doig once remarked thateven the most realistic work of arts are derived more from within the head than from what's out there in front of us, how do you considerthe relationship between reality and imagination, playing within your artistic production? Gregory A McCullough:You make me recall a grouping of works of mine that directly challenged our urban paradigm of seeing. The paintings hinged upon our night sight, using our retina’s rods- low light sensitive and hyper motion selective. The paintings were to be seen under normal lighting and then in darkness. As the lights went down certain pigments were UV retentive so started to self-illuminate in the dark as others were obscured and disappeared. The paintings’ hierarchy of structure was thus shifted as specific areas of the paintings came to the fore and others receded dependent on the lighting condition. It was exploring how we actually see, questioning why does art history rest only upon our conal vision and why is the structural hierarchy in a painting static? I’d say it was a juxtaposition of reality with our paradigms of what we consider normal. Why do we assume that this is how it should be?