Until the 1960s, abstracted landscape painting was the dominant mode of expression among West Coast artists. Yet while that decade brought explorations into art-as-life performance and post-conceptual photography, the abstracted landscape tradition endured, most notably through the work of Jack Shadbolt and Gordon Smith.
Although art historians and critics no longer consider this genre of painting a reflection of our current moment, we, the viewing public, continue to look at it.
In David T. Alexanders most recent acrylics, colour in its myriad combinations continues to achieve symphonic levels, wedding eye and ear in a robust and at times lurid communion of sensual pleasure.
Watershed Blue (2015) recalls the palette of Emily Carr, while the much larger Infinite Travels with My Father (2015) recalls Shadbolts. Indeed, just as these paintings reflect what is caught on the surfaces of watery pools, so, too, do they reflect the influence of Alexanders forebears and the history of West Coast Modernism.