Tina York - philosophical

We are living in the information age. We have, to a certain extent, mastered electron microscopy -- we are looking for the first time at cells. In the near future we will be able to look at atoms and at the components of fractured atoms. So much is happening in science now. But few of us know, for instance, the splendid inner worlds which we are made of, and few of us realize that what we are is exactly the same as what is outside of us in nature.

Few of us realize that destroying our planet, and later our solar system and interplanetary space, means destroying ourselves.

This work, although unobtrusively, directs a viewer's mind into realizing that what we are and what is around us and what could perhaps exist out there beyond our solar system is beautiful, and must be respected and preserved at all costs. But this is only one message. There is so much to think about and understand in these works, including a philosophical coming to grips with many important issues, that perhaps it should be considered a must to get to know them.

What, after all, is art for? To be enjoyed? Yes. But also to provoke some rather serious thoughts, to deal with present and future questions, to contribute somehow to the progress of evolution. This work does exactly that, and more. The fantasy employed is probably the most valuable component of this work. Why? Because we have to be prepared for future sights and sounds and smells and tastes -- for all kinds of sensations we are not now familiar with.

How would we cope, for example, to see two moons at night, as will happen when we begin to colonize Mars in a few years? What about living in a pink dusty world where we can hear each other only if we are in a bio-bubble that is constructed so that it meets our uniquely human needs? How would we feel to travel through or live in space for years, without oceans, mountains, fields or cities, without weather, color, dawn or dusk?

By the year 2030 our planet will have to sustain ten billion people, and this number will double in a few years after that. Earth will not be able to support such human masses. We will be forced to search for other living spaces, and we are aware of that and are preparing for that right now, by trying to build a space station, by opting for vehicular Mars landings, by experimenting in Arizona with the Biosphere, etc. This work deals with such issues, and these issues are undeniably of importance.

Leonardo da Vinci dissected -- studied -- drew and painted human and other creatures' bodies and plant life. He was involved in engineering of such things as aqueducts and bridges, machines and vehicles of all sorts, and so much more, thus dealing with future needs. I also am dealing -- wrestling -- with future needs, though these are needs of a rather different kind, vastly changed needs of a comparatively advanced society. As artist I address those needs, those topics, in my work.

Having left realism behind me long ago and strictly developing "style" that accommodates expression of what I need to say, I now work in something called macro-realism and abstract symbolism, because that is what it is. The fact that my paintings look "abstract" points out nothing more than our basic ignorance of things we can not see without the resolution of a powerful microscope. But real they nevertheless are, these tiny objects. And amazingly fascinating.

My work, then, is intended to serve a valuable purpose: to help pollinate the fertile minds of mankind. Leonardo da Vinci dreamed of flying machines; I dream of life on different worlds. But, unlike Leonardo da Vinci, I am not 500 years ahead of my time, because the questions I address in this work are pertinent to all of us and to now. Ultimately each and every one of us will have to think about these issues.