I have been making art for many decades-as far back as my memory goes. I am influenced by many factors that come together to create ideas for work. My creative process moves through many stages of problem solving, finding solutions, and working out paint connections and combinations. This process unfolds in a sensory way, until a solution eventually emerges.
Images and effects for my paintings are made by making marks using different kinds of brushstrokes- these marks leave a layered imprint on the surface of each canvas. My work comes from an inner psychological and analytical landscape where memory, experience and imagination work together and connect the past, to the present, and the future.
I understand the making of art as a process that is guided by personal insight, and the work of others who have had an impact on my learning and quality of life. I am grateful for the sacrifices others have made so that I have the freedom to develope and create original and meaningful art. I appreciate the support of my parents, teachers, friends, and inspiration from artists such as Paul Klee, Joan Miro, Richard Diebenkorn, and Botticelli.
When we least expect it Spirit makes its presence known.
“Myron Swistun’s work asks the viewer to go beyond the surface qualities of a painting. We are asked to look beyond the physical impression of the work : to look a little deeper in order to see beyond the obvious, and understand the unique composition of each painting. His paintings speak of other dimensions, timelessness, and harmony between disparate elements. This is what happens when painterly effects are transported to aesthetic and spiritual places. This is what it looks like when symbols, light and colour mix, combine, form and dissolve within the shared space of a canvas.
Swistun’s paintings are free of the clutter and noise of other contemporary work. This is a different kind of image making. In this artist’s world, complex interactions between positive and negative space are presented in a way that encourages the viewer to look more carefully into the painting. Shapes are open, but remain grounded in a surface of harmonious colour. The subject matter, use of colour and composition reflect experience and intentions, technical skill and expertise, knowledge and respect for the metaphysical universe.” (excerpt from review by Dr. Janet Markus, OISE/University of Toronto, Department of Curriculum, Teaching and Learning)