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 It’s this current paradigm of reality versus other paradigms of knowing the world that I want to juxtapose and bring into our conscious. How we actually engage with reality shapes our paradigms of knowing, by contrasting those with other ways of knowing, I hope we can re-engage consciously with reality. Jumping between these other paradigms of knowing and our reality – as we do with humour and play – is essential to our humanity (possibly exclusive in our expressions of it). Imagination is a vehicle to access some of these other paradigms for potential being. As I find art as a kind of story telling for me, having the imagination to step outside of the box, is key to understanding the box. Some of your works feature characters engaged in strenuos activities, as boxing and skating: other works seem to suggest hesitation, and even fear. In each of them, there's a human figure that appear to struggle, that engages the viewers on the emotional aspect: do you aim to create allegorical images able to trigger the viewers' imagination, inviting them to elaboratepersonal interpretations? And how open would you like your works to be understood? Gregory A McCullough:I think all art is Hillside in Sunlight, 2019, 40.5cm x 30.5cm, Digital work, personal, even when viewed in mass public venues. Audience engagement via the basis for an appreciation of the other corporal muscle memory and identification layers of meaning is laid down. Hopefully the is a direct root to empathy. audience will stick around to find them. We all strive to overcome something, so That the art audience brings as much to the