Friday, 24 July 2026

The mid winter summer show

Please enjoy this latest exhibition its the rice growing season in Japan but its very hot

thank you.

Professor Diana Davis

Necklace 2026

Melissa Nolan McDougall

Cimmarron

Oil on wood panel - 20 x20 cm.

Peter Davidson - Plastic flower 2026

pastel on black pastel paper

24 cm h x 15 cm w

In the studio, drawing never unfolds as a simple transfer from sight to hand. Even the most ordinary motif—a plastic flower, a ceramic dish, a sheet of coloured paper—becomes the site of a far more intricate process. Outwardly, it appears as a quiet act of looking and marking. Inwardly, it is a dynamic flow within the nervous system: a continual reorientation of perception that resembles walking or talking, a structured rhythm that never repeats itself, always adjusting, always improvising, always seeking uncharted horizons within aesthetic sensibility.

Please click on the link if you wish to read more

https://2dogsartspaceakashi.blogspot.com/2026/07/delay-as-living-flow-how-perception.html

Diokno Pasilan

Monotype 30 x 42 cm 2026

Micheal Doherty

Lunch with the Caravaggio’s.

oil on wood panel,

40 x 40 cm

Sally Douglas

Blue Note Division No 5

Water colour and Gouache

S 18 cm w x 26.5 cm h

Ross Sanders

Currently researching Lemnos Greece

Chelle Bourne - Surf under a big blue sky

Grannies Pool

Digital Image 2026

Sunday, 21 June 2026

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

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

Tuesday, 19 May 2026

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

Saturday, 11 April 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).