Wayne Boucher Artist Statement:
Current strategies deal with the luminosity of light, and the radiance of colour in counterpoint with elemental schemata that transcends surface and meaning. The intent of my work has been for the viewer to “fall in and drown in the work” and see things beyond the surface of the paintings.
From the large black and white paintings and drawings of the mid 1980’s right through to the present day coloured works; I have been fascinated by the see-through images and imaginings of the x-ray vision of aboriginal artists and their art. To see beyond the surface, whether it be, the early schematics of something/someplace; or to the current painting process whereby the dance of paint application, movement, direction, tools and their manner of use inform its’ significance, either as an object/painting unto itself or having further consequential narratives beyond the surface.
The process and manner of application creates architectural and elemental spaces where marks, gestures and push-pull dynamics inform the theatrics and content of the image. From the guest curator, Peter Dykhuis of Radiance and Counterpoint” AGNS, 2006: “Boucher orchestrates space with colour. It is the lead actor in his theatre, but is not the stage that contains the choreography or the narrative”. And from Richard Mueller’s essay for the exhibition ‘Stations’, “ Stripping away the particulars of plot and narrative, he grounds the work in an illusive, yet essentially familiar dramatic event”.
The series of work entitled “Somewhere Between Heaven and Hell” (images 1 to 10 2009 -2011) purpose was to simplify notions, and sensibilities of mark making into a cohesiveness of intent, paint application and implied meaning or interpretation. The 2005 work, “Ladder at the Gate” was the impetus for this new body of work. “Somewhere Between Heaven and Hell” may pertain to a stage of acceptance, rejection, or being somewhere in transit between the gates of heaven and hell. Who knows?
The “Blue Pool” series (2011) of paintings and exhibition evolved from previous blue paintings reminiscent of water, and a 1996 small 10” x 12” painting entitled “Waiting for Paris” which used a tiled walkway around a blue surface. All the paintings in this series are blue, lit from within, and use a common tiled like geometric pattern walkway/platform around parts of the edge.
In response to the horrific Japanese Earthquake of March 11, 2011 at 10;36, and feeling completely helpless the blue pool paintings evolved into mythical narratives of paint such as in "Rising Sun:The Morning After. .Japan rescue attempt number one from the golden platform with large Yellow Crane.” The Awakening of the Sun /Réveil Du Soleil at 123 degrees on 12/21/2012 painting dealt with the sunrise in Nova Scotia and the point the sun breaks the horizon line, the winter solstice and the end of Mayan calendar.