overview

The creative instincts of Canadian painter, M. Cran, have found their fluid articulation working with acrylics and oils in an abstract medium. The artwork stems from internal reflections and each piece itself may be viewed simply as an aesthetic proposition.

The port of entry into these works is their face rather than a name.

From the artist’s perspective, the perceptual engagement between the viewer and the paintings unveils the intent of the work without need for intervention of a title. In the mind of the artist, to furnish a title is to have spoken too much.

The paintings are fertile with visual dynamics but the overall impact may be of a subtle nature, not given to words. It is the face-to-face role of the work as a whole to declare that most directly and intimately.

Not dissimilar to the manner in which a stream of melody from an instrumental musical score succeeds, through its own non-verbal language, to coherently engage the listener via a melodic vocabulary alone - the perceptual play of these pieces draws the viewer into the expansive spirit of the artwork thereby instilling it with meaning.

image gallery

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about the artist

The creative instincts of Canadian painter, M. Cran, have found their fluid articulation working with acrylics and oils in an abstract medium. The artwork stems from internal reflections and each piece itself may be viewed simply as an aesthetic proposition.

The port of entry into these works is their face rather than a name.

From the artist’s perspective, the perceptual engagement between the viewer and the paintings unveils the intent of the work without need for intervention of a title. In the mind of the artist, to furnish a title is to have spoken too much.

The paintings are fertile with visual dynamics but the overall impact may be of a subtle nature, not given to words. It is the face-to-face role of the work as a whole to declare that most directly and intimately.

Not dissimilar to the manner in which a stream of melody from an instrumental musical score succeeds, through its own non-verbal language, to coherently engage the listener via a melodic vocabulary alone - the perceptual play of these pieces draws the viewer into the expansive spirit of the artwork thereby instilling it with meaning.

In keeping with the freedom of expression of the artistic enterprise in general the artist is drawn more to preface the artwork with a few lines of poetry than the buttonholes of biography...

crystal dewdrop
astride the velvet jaws
of a morning rose

butterfly
coursing the jugular
of the wayside honeysuckle

gypsy dreaming
beneath the spigot
of the August moon

caught between a cloud
and a soft place
thrill two birds
with one tone