Please forward this error screen to blackkat. Classical physics tells us that a distance of one meter in space a portrait of the artist as a young man essay always one meter. In quantum physics one meter is also one meter, but the elimination of distance, or the approximation or acceptance of something, changes that object or at least contains a wider spectrum of interpretative possibilities, so that the comparative of focused concretization is a well facetted ambiguity in the sense of quantum physics. Nigel Van Wieck’s works function in a similar manner.
On first glance we seem to see just what we see. The realistic pictures reveal for us a view of people on a beach, or at work, or involved in recreational activities, or in their domestic surroundings, or in public places. However, as we approach them they lose their unequivocal nature and one begins to ask oneself what is it that we see, or much more if this is everything we see? Van Wieck has been living and working in New York, USA, since 1979. The fact that the artist is actually English is not apparent, in the least not in his works. They recall too much the works of American Realist artists, with whom he came in contact with after moving to America.
At first it was the American Realist paintings of the late 19th century that impressed Van Wieck, such as those of Thomas Eakins or Winslow Homer. The same formal strategy of directing the view from a point on high is exploited by Van Wieck in Mulberry Street and Bellevue Avenue. While we observe a boy in the former who is about to climb the wall of a cemetery in bright sunlight, in the latter there is a night scene illuminated by a street lamp where a women with a dog on a leash enters the beam of light. However, although Van Wieck makes the seemingly arbitrary the pictorial motif of his pictures, they are nevertheless filled with a strange tension.