Weinstein's phenomenological paintings explore painting as a field of special effects. By painting in transparent colors over a metalic and unevenly applied mirrored ground, Weinstein dematerializes his imagery and places it in a shimmering projected space. Movies and theater have always mimicked the light and space of painting in the form of special effects. By painting the special effects, Weinstein places them back into painting in their technologically transformed form.
The reflective ground is a reference to the Lifeworld. This is a term penned by the German phenomenologist Edmund Husserl. The lifeworld is a horizon line of experience. An intersubjective space. The Lifeworld is not uncovered by consciousness. It is always already there.
In whatever way we may be conscious of the world as universal horizon, as coherent universe of existing objects, we, each "I-the-man" and all of us together, belong to the world as living with one another in the world; and the world is our world, valid for our consciousness as existing precisely through this 'living together.' We, as living in wakeful world-consciousness, are constantly active on the basis of our passive having of the world... Obviously this is true not only for me, the individual ego; rather we, in living together, have the world pre-given in this together, belong, the world as world for all, pre-given with this ontic meaning... The we-subjectivity... [is] constantly functioning.
-Edmund Husserl, The Crisis of the European Sciences
