Over the past several months, I've been exploring a creative thought which has gently taken shape into a robust idea: a series of paintings featuringconscious agents as intrinsic parts of their compositions. These characters aren't merely silent observers but influencers in this artistic landscape, bending and morphing the world around them through their conscious perception.

In painting, as in all fine arts, there's a conscious communication between the artwork and its audience. Traditionally, Western art has favored a more static approach. From the Renaissance's sfumato technique to the Baroque's chiaroscuro, the use of light, shade, and perspective have been instrumental in creating a certain aesthetic reality. Grounded in the principle of the observer's fixed viewpoint, these paintings are like carefully composed photographs, their narratives frozen in one singular frame of space and time.

Contrarily, Oriental art forms often weave a dynamic story. They take audience engagement a step further by not just providing different parts of the narrative across the painting but also doing so in a way that places the viewer at different points in time and space. These artworks often tell a rich story, with characters in action and spatial representation that speaks volumes of the narrative's context. From Japanese Ukiyo-e paintings to the intricate cave paintings of Dunhuang, they narrate an unwinding tale across their canvas, thus redefining the audience's perspective and viewpoint.

Yet, there exists an element that has been less explored in both these art traditions: how these characters perceive the reality around them. And here's where my series of paintings aims to break new ground.

At the heart of this novel idea is the question: Can we use the canvas to distort and reconstruct objects as perceived by the characters within the paintings? These are not simple figurative distortions; they are reflections of the characters' consciousness—their beliefs, biases, and selective attention. Some features may appear exaggerated while others, deemed insignificant by the character, may blur into the background. Marc Chagall’s floating lovers and Salvador Dali’s melting watches provide glimpses of how such idiosyncratic perception might look on canvas.

By using this conscious distortion, these paintings will take on blends of surreal and hyperreal qualities. Rene Magritte's art style could be a model here, where mundane objects are placed in an unusual context, challenging the preconditioned perceptions of reality.

But the exploration won't stop there. By bringing together multiple subjects, I plan to probe into the complexities that arise when multiple subjective realities interact and intersect within the same space-time frame; somewhat akin to the explorations of artists such as M.C. Escher.

Furthermore, I am contemplating weaving in the element of 'fourth wall breaking'. This originally theatrical concept, when used in paintings, might serve as a unique tool to play with audience perception and engage viewers directly, adding another layer to the intersecting realities depicted in my works.

In essence, I'm aspiring to take you, the viewer, on an artistic journey that breaks traditional molds. One where our shared story is painted, flicked, and smeared on canvass through the diverging lenses of various consciousnesses. It'll be an exploration of a shared reality with all its contradictions, differences, and overlaps. I hope you'll join me.