Up and Down
ol on canvas
ol on canvas
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Statement: Art for a World Gone Mad.

"The question of WHY I do what I do is a provocative one. Perhaps abstraction is a way of ‘making order out of chaos’ or to be in a focused distraction from reality. I think the resolution is just trying to make a good painting which embodies my values and sensibilities in a way that the viewer has a portal into what is being signified and expressed.

These two paintings were done in collaboration with two musical composers. The QT code labels can be scanned by a smartphone which will access the music. Ryjuin: Music by Theo West
Up and Down: Music by Hiliary De Vries"

Wayne Boucher was born in 1943 in Ontario.  He studied at the Banff Centre, AB and at the Nova Scotia College of Art and Design in Halifax, receiving his Bachelor of Fine Arts Degree in 1975.  The following year he moved to Graywood,  Annapolis County, NS where he carried  on his painting  practice to the present time. Boucher has been an active member Canadian Artist Representation (CARFAC),  Visual Arts Nova Scotia (VANS) and Arms Length Funding for the Arts (ALFA).  He is a founding member and past chair of the Annapolis Region Community Arts Council (ARCAC) and past chair of the exhibitions committee of ARTsPLACE, artist-run-centre in Annapolis Royal, NS.

Since 1975 Boucher’s painted work has dealt with surface tensions between figuration and abstraction, geometry and organic form in play with large elemental  fields of colour, or black and white.   The paintings from (1997-2000) utilized a variety of international signaling codes;  such as marine signal flags,  ground to air signals, and Morse code .  These spatial images portended to vast oceanic voyages, and  dangerous crossings in opposition with the systemic  pattern and codification of the signals.

in describing his practice he states, "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 xray vision of aboriginal artists and their art. To see beyond the surface, whether it be, the early schematics of something/someplace; or to the currrent 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 of having further consequential narratives beyond the surface."