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 Issue part of discovery, regardless of the anticipation. Marked out with careful choice of tones — variable in such wide range that encompasses thoughtful nuances of your portraits and of Hillside In Sunlight as well as vivaciuos, almost bold tones in the Bout— your artworks are marked out withrigorous geometry that —as in the stimulating Swimming Lesson— provide your works with visual fluidity and sense of movement: how do you structure your process in order to achieve such brilliant results? In particular, how does your ownpsychological make-updetermine the nuances of tones that you decide to include in your artworks? Gregory A McCullough:I am of the school of thought that the viewer has to complete the artwork. It’s like a comedian can never explain the joke, the audience either puts it together or it flops. So allowing the viewer the space to determine where the edges lie; where the form begins or the background dissolves, I think is crucial to support the engagement of the viewer. Seeing art is a discovery for them too. I find the rigorous geometry of the backgrounds juxtapose with the agency of the participants. That the backgrounds tend to be as geometrical as they are, is likely from my work in flight simulator visuals. The realistic textures used there need to be aligned, tiled and are often quite rigid for architectural needs. Things get simplified and Swimming Lesson 4.4A, 2021, 152.5cm x 91.5cm, Spittlin distilled in a sense. The forced balance of the ‘backgrounds’ in my art, is likely a visual legacy myself. There is a lot to be said for clarity from that experience. and boldness, but nuances of tones and meaning are aspects of discovery like an Nuancing is part of this engaging the viewer and inside joke. You aren’t alone to realize