Beginning of winter and summer

June in the Japanese Summer is the rainy season and the rice planting time

Peter Davidson - Rainy season Nishi-ku Kobe
Pastel and carbon pencil on paper
20 cm x 20 cm

The image  above emerges through the interaction of duration and delay, though the two are distinct. Duration is the physical act of drawing: the sustained labour of looking, adjusting, and marking the surface. Delay is the spatial interval that precedes every mark—the displacement between optical encounter and inscription. According to the Davidson Hypothesis (t₀ → t₀ + D), the artist never acts upon the world directly, but upon a perceptual construction already displaced by delay. The luminous rice paddy, dark tree line, and shifting atmosphere are therefore not representations of a landscape, but traces of perception negotiating its own formation.

Each mark registers this passage from sight to action. The image is not the depiction of a static moment, but the residue of delay made physical through duration. The pastel surface accumulates successive perceptual adjustments, sustaining an encounter that can never fully coincide with its source. Suspended between recognition and dissolution, the work keeps perception active rather than allowing it to settle into certainty.

In this sense, the work approaches apeiron—not as an abstract concept, but as the indeterminate field from which visual experience emerges before recognition stabilises it. Apeiron is not represented; it is evidenced through shifting relations of colour, atmosphere, and form.

The heavy gold frame extends this structure. Just as delay forms a threshold between seeing and marking, the frame establishes a boundary between image and surroundings. Against the neutrality of the white cube, it concentrates attention and contains the work’s unstable equilibrium. Its reflective surface intensifies internal chromatic relations, creating a compressed field in which perception remains active. The frame is not ornament but a condition of the image’s emergence. Within this bounded field, apeiron is momentarily registered.

Peter Davidson

 

Peter Davidson

Untitled (plastic still life)

Pencil Pastel Charcoal on pastel paper 

2026

Melissa Nolan McDougall

Birds of Paradise.

oil on canvas

380 x 770 mm

Chelle Bourne

North Beach Jetty I

Digital Image

Chelle Bourne

North Beach Jetty II

Digital Image

Sally Douglas 

 Blue Note - Suspension Number 3

 Watercolour on paper

 18 cm w x 26 cm h

John Cullinane

Looking West 2026

Oil on Linen

45 cm h x 61 cm w

Diokno Pasilan 

Seniors ID Monotype on archival paper 21 x 29 cm

2026

Ross Sanders 2026

Totem 

Found Objects 

Necklace - 2026

Professor Diana Davis ANU

The end of spring and autumn exhibition

 

Kyoto in Spring

"For me, this is the most beautiful time of the year. In Japan, it’s a window where the plum and cherry blossoms bloom together, turning the landscape into something truly surreal and stunning. Meanwhile, in Australia, the intense summer heat finally recedes, making way for incredibly pleasant days and nights. Please enjoy this exhibition, and thank you!"

Peter Davidson - Footpath Iris 2026

Oil on wooden panel 

18 cm h x 13 cm w

John Cullinane - The trousered ape 2026

Oil on linen

36 cm h x 46 cm w

Sally Douglas - Blue Note Series - Clarity No 4 

 Watercolour & Gouache

26.5 cm h  x  18 cm w

Ross Sanders 

Wheelie Bird 2026 

Found objects

Melissa Nolan McDougall

Spring 2026

Coloured pencil on paper 

Peter Davidson 2026

Japanese woman stretching

Pencil pastel pencil watercolour on F4 Pastel paper

The Architecture of Perception: Apeiron, Delay, Scintillation, Strategic Interruptions, and the Sovereign Space

for further information please click on this link thank you

https://2dogsartspaceakashi.blogspot.com/2026/04/the-architecture-of-perception-apeiron.html

Ross Sanders 

Kneeling Narcissus … in the desert. Work in progress “within the delay”

Professor Diana Davis ANU 

Neckless 

Every neckless is designed differently 

Chelle Bourne 

Crumbling Waves

Digital Image

Diokno Pasilan

Blind page Monotype 21 x 29 cm 2026

The Autumn Spring Exhibition - Wild Swan Art Group from Western Australia

Easter at Nagasaki Citys Catholic Catherderal's 

Ground Zero A Bomb Memorial 

Cherry Blosooms

pastel pencil charcoal on F4 pastel Paper

デイヴィッドソン仮説によれば、芸術家は現実に直接働きかけることができない。これは速度の不足や「遅れ」によるものではなく、構造的な必然である。認識には距離が必要であり、ずれがなければ、何ものも「何か」として現れることはない。

この必然的な間隔こそが、アペイロン（D）である。

The Davidson Hypothesis states that artists cannot act on reality directly. This is not due to a lack of speed or a "lag"—it is a structural necessity. Recognition requires distance. Without displacement, nothing can appear as "something."

This necessary space is the Aperion (D).

The Davidson Hypothesis states that artists cannot act on reality directly. This is not due to a lack of speed or a "lag"—it is a structural necessity. Recognition requires distance. Without displacement, nothing can appear as "something."

Chelle Bourne 

After the Rain - Star Swamp

Digital Image 

Diokno Pasilin

Port Barton

Oil on canvas

240 cm x 180 cm 

2025 

Micheal Doherty  - Northwest 

Oil on canvas 

50 cm x 50 cm 

 Sally Douglas 

Spring, Devon, UK

38cm h x 28cm w

  Watercolour on paper

John Cullinane 

Time

Oil on canvas

Professor Diana Davis

Australian National University

Necklace

Melissa Nolan McDougall 

Untitiled drawing 

A4

Ross Sanders 

Narcissus #1

Found Objects

Spring/ Autumn Exhibition 2026

The Japanese Spring is here and the plum blossoms are nearly in full bloom 

as the sunsets on the cold winter.

Poem

Sugawara no Michizane (845–903) 

東風吹かば
にほひおこせよ
梅の花
主なしとて
春な忘れそ

When the east wind blows

Send me your fragrance,

O plum blossoms!

Although your master is gone,

Do not forget the spring.

Legend states that as Michizane left his home in Kyoto, he addressed this poem to the plum tree in his garden. The poem reflects his grief at leaving his beloved trees and his hope that they would bloom despite his absence.

Source Google AI Overview

Professor Diana Davis - Necklace

Australian National University 

 

Ross Sanders - RMIT Sculpture Major - Pomegranate -

Farm utensils and decaying friuit - 10 cm x 8 cm

Ross Sanders - RMIT Sculpture Major - Roma Gaea Rising

Found Objects 10 cm x 8 cm

lived and worked in the remote mining areas of Western Australia

then retruned to Victoria

Diokno Pasilan - Suitcase Islands 

The Drawing Room Contemporary Art 

Manila

link https://drawingroomgallery.com/exhibitions/make-up/ 

Chelle Bourne Star Swamp 

Digital Image

Sally Douglas -  Magnolias, Dartington Hall, UK

Medium:  Watercolour on paper

Size:  26cm w x 36cm h

John Cullinane - The Calling 2012

Oil on linen, 38 cm x 51 cm

Peter Davidson

The Japanese spring flowers by the side of the road

Oil wax acrylic on wooden panel

21cm h x 18 cm w

This painting quietly resists instant recognition, asking the viewer to slow down and move through its surface rather than take it in at a glance. The thick, clustered marks of red, white, and violet feel less like clear descriptions of flowers and more like the trace of having looked at them over time. Set against the steady horizontal bands, the vertical forms carry a restrained, rhythmic energy, as if perception has been filtered and condensed into paint. The result is not just a fleeting roadside scene, but a small, self-contained object that holds the viewer in the time it took the artist to arrive at the image.