So...a concept I taught my advanced art students, and make a point to "point" out in my workshops is making use of "peripheral vision" when painting. Now...making a point to consider an aspect should not be mistaken as saying one thing is "better art" than another...it simply is an area being explored, consider...and understood perhaps helps clarify one artist working and fleshing out an idea for a direction they are pressing, pushing.
That said...I have in my many years painted every element in a painting with its autonomy, its significance and detail. But...years painting plein air, I have come to understand that the novice sets up, sees and paints everything thinking it astute to demonstrate how good their eyes are. Whereas the master (as Edgar Payne used to teach) is more concerned with what NOT to paint, and thus discriminates.
I have been working more and more on destroying or deconstructing paintings, obscuring edges, eliminating clarity of form to bring attention to that object of focus or emphasis...and rebuilding that area.
My first photo shows two sets of hands, the first on top shows the distance in focus, the hand seen peripherally (try it, hold you hand out arm's length) appears blurred. The lower image shows focusing upon the hand, and the distance appears blurred. Our "natural" way of seeing sees this way. We are grabbed arriving upon a scene or subject some some compulsion that grabs us by the jugular and says, "paint me!"
But...after setting up...we then paint as if now looking back there..."back there" is of utmost importance, and all its particulars. Now we look over there in the mid-ground at an element, and then paint that as if of utmost importance and all its particulars...and then whatever is near...etc., etc.,
But...if our painting mirrors our experience...we take in this thing, while "that" and "over there" is subordinate. So my deconstruction looks at where I've arrived at a point in the painting and realizes..this "that' and "over there" needs to be downplayed, obscured, destroyed, deconstructed...and the emphasis emphasized. Edges...felt as existing in space...atmosphere...
My painting of the tag alders along a frozen river shows some of this deconstruction...downplaying of values, color chroma in the distance, bring to greater clarity that which is nearer...and I am able then to suggest more "feeling" what is "there"...by trusting such painting will embody genuine physics in how we see.
Trust me...as a former (twelve step program confession) hyper realist or photo realist, I painted as if we see all...as if to suggest the viewer were omnipresent and omnipotent.
Anyway...such as is personal one's journey, this is where my head is at, explaining my current efforts...but as an instructor and art lover, not what defines "art" for everyone...