For many years now my work has been concerned with the unity of the structured order and relationships that make up the created universe. This would not only include the obvious, in what is usually designated as nature or natural structures, such as the pull of gravity, or the ripples of a pond disturbed, but also the man-made structures, such as bridges and electronic circuits.

On a larger and more subtle scale I’m intrigued by the idea of the interplay between chance and order, the cycles of the seasons, musical harmonics, acceleration, colour and mathematical sequences, linear perspective, etc. What is the relationship between the length of a piano string and the volume of air in the pipes of an organ, or with the change of frequency of the colours of the rainbow, or with the changing speed of a falling rock? Does the accidental exist? Is chance unrecognized order? And, more recently, the tremendous possibilities of the idea of chaos, relativity and randomness (or lack of it) Einstein/Hawkins. The concept that the physical fact of a given object or event in a given space at a given time may well affect the whole universe is astounding!

Because of this ongoing interest in the relativity of man, nature, and technology as an organic, spiritual, emotional being I have been investigating the ideas of working with technologically oriented media with a process which incorporates a series of highly preconceived events (pseudoscientific and intuitive) which, when put into action, almost produces the work by itself-similar to the solution to a mathematical problem. The finished piece is the result of the dialogue between myself and the technology, in that space, at that time. A kind of all-ness at once-ness – a parallel.

Reviews

Wayne Eastcott has concluded an apprenticeship of long-term proportions, and a mid-career interim which has included far-reaching influence through his teaching and sharing to take his place among the most fully advanced artists of this region. If the printed painting, especially noted in his more recent Karamon and Yomeimon Series, demonstrably establishes both the substantial mass and veracity of painting (while remaining eminently editionable), Eastcott has abundantly proven his point. Technology is not the bugaboo of artistic integrity: it can also facilitate utterance of the most meditative and profound levels of human experience.
From Orders of Appearance by Ted Lindberg, June 1991.

Other Reviews Include :

• Wayne Eastcott, Crown Printers, by Ann Rosenberg, Vanguard, Summer 1985.
• Xerox Pioneer A Master Printmaker, by Joyce Woods, Georgia Straight, April 1985.
• Part I: The Process, Technology and Imagination,
• Part II: The Images – Technology and Beauty,
• Part III: The New Prints – Technology and Art, by Arthur Perry, Vancouver Province Newspaper, February 1979.
• Exploring New Media – An Interview With Wayne Eastcott on Xerography by R.D. Smith, Art Magazine, 1974.
• Canadians You Should Know, Maclean’s, November 1969.