Genesis, Jane Bunker

At first glance, Jane Bunker’s work appears to be photographic—an unfocused, blurry sight originating within a camera lens. On closer inspection, the smooth application of paint comes forth. Bunker’s paintings are inspired by her childhood when she was diagnosed with myopia, or near-sightedness, that went undetected for several years. Genesis plays with light and shadow to capture a hazy natural environment across its four panels.

As a child, Jane Bunker was severely nearsighted, rendering her world blurry. Because her myopia went undiagnosed, for years she was unaware that others saw the world differently. Although her vision has since been corrected, she continues to translate the beautiful, blurry world of her youth into paintings. Like many of her works, Genesis shows out-of-focus landscapes; four distinct panels are arranged to form a diptych. Bunker often uses the technique of multi-panel paintings to explore how human vision stitches images together across blank space, furthering the connection between the physiology of sight and her artistic practice.

As a child, Jane Bunker was severely nearsighted, rendering her world blurry. Because her myopia went undiagnosed, for years she was unaware that others saw the world differently. Although her vision has since been corrected, she continues to translate the beautiful, blurry world of her youth into paintings. Like many of her works, Genesis shows out-of-focus landscapes; four distinct panels are arranged to form a diptych. Bunker often uses the technique of multi-panel paintings to explore how human vision stitches images together across blank space, furthering the connection between the physiology of sight and her artistic practice.