With so many variations of landscape painting created over several hundred years there remain fewer
and fewer stones left to overturn. What Martin Weinstein has done with this most ubiquitous type is
quite genius. By breaking his compositions down to three or four floating layers of painted elements,
surfaces that can span days, months and even years, Weinstein has brought in a very specific sense
of time. Visually speaking, by overlapping layers of clear, frosted acrylic to paint upon, Weinstein
can stretch the visual elements not just in time but in space, so a work will read differently in its level
of abstraction from angle to angle and moment to moment. These shifting visual transitions are key
to understanding the artist’s work and how he uniquely references the land around him through a
distinctive and varied filter. Each edge of a flower petal, every cluster or windswept leaf and each ray
of sunlight can be elements that both blend and stand apart as nature observed travels through the air
like a refreshing breeze or a sudden apparition. In a way, this is more of how we actually see the world
around us, how we focus and process information and how we judge perspective in movement from
detail to detail and site to site.