2006 THE ANATOMY OF BELIEF
The new work explores an interrelated set of issues
concerning technologies of vision, surveilance and the ability to see
the infinitesimal. The film is done as in endosscopic surgery. Christian
myths and contemporary anime, creating a visual context for images resulting
inpertinence of myth when juxtaposed with contemporary reality. Linear
time, the unrepeatable timeline of history, invaded by sacred time, infinitely
in myth and ritual. Representing real events using the language and
technology of cinema. This space between”not yet and “no
longer. Tools adapted from cinema juxtapose images of different kinds
in order to twist their meaning. A means toward an exploration of memory
and emotion.
The film is a gathering place, starting with certain paths of research
already taken and adding others over time to make vision and comprehension
coincide. A down the rabbit hole progression, like a gauntlet of equivocations.
I bring about the reappearance of works through my denial of their appropriation.
Gliding back and forth from one end of a long curving corridor to the
other, distinctly purgatorial. A story about creative ambition and it’s
limited inward spirling pursuit. The centrifugal force of creative ego
against the obtuse world, a duo to culture against nature. The layers
range from discarded to encounters with other. I try to open up spaces
of indeterminancy within the viewer, to demonstrate explorations of abstraction
to meditations on life and death. A dual gaze at reality. I look at the
read only members of society or the ROM. I try to expose the visual numbness,
that widespread superficiality. I am integrated by the archive rather
than the select. |
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465. BLACK RAINBOW
(32” x 27” Encaustic
and vinyl on wood and metal)
In order for a work to be pure, it must confront pressing, but unanswerable
questions about the nature of life and death. Intimacy and empathy, there
seem to be a detectable feeling of exhaustion, as if the Art world is suffering
from constant jet-lag. The backlash of increased mobility, influences and
meetings lays in the sadness of the unavoidable departure with that separation
and the sense of loss. I used the artist’s breath on the window glass,
the plane of separation between the camera’s eye and the viewer’s
world. Elsewhere no longer exists?
This series dealt with the broader social shift. I first got the thought
in my head from an antique wood chiropractor’s sign lettered in gold
leaf on a black smalt background. (Smalt is a pulverized glass whose sand
like texture contrasted with and enhanced the appearance of gilding and
also made the letters appear slightly indented, as if embossed.) This is
typical of a quality sign of the early 1900’s. This gave me the idea
to use glass beads as a top surface. In an automated act, a palpable, textural
connection to our past is sacrificed. Infused with nostalgia we forgo the
scenic routes, for sterile speed. I emphasize the material entity from
the wall into the space. I wrote a short introduction. |
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452.1. A JOURNEY TO THE TABLE
A tablecloth unfolds, spreading itself slowly over
the kitchen table. The suspended time our imagination fills in what we
think. Fingers woven, palms touching, we sit around. The changeability
of an environment may turn the mobility of an individual into a relative
thing. The cup balancing over the surface floating, our voices moving
through our hands. And somewhere between the reality of morning the presence
of sleep. Recollections from reality to open up ways to a future which
is in no way certain. My cheeks ached from the wind, the city wrapped
around me like a stage. The clouds heavy, kept the sound trapped within
the walls. The geometry of the space can remain as the subjective desires
of those moving inside it’s change, even in complete immobility.
The moment of its implementation is the moment it’s life begins.
In that moment the space can be “isolated” from the unbending
rules of reality. The design of space is a processed framework, a “setting
not for imposing forms on something broader and already existing, but
in which these forms and actions are sought in predetermined ways.
From a different world suddenly our paths crossed. Vision has to do
with trust , has to do with reality. The surface an elementary geometric,
within it the dynamic of the forces, space is above all a tactile one.
Temporal continuity is overthrown in the process devoid of references,
memories from the future . The focus is on the relationship of the
artwork to the viewer, onlookers are silhouetted in side the figures.
The suggestion of instability and changeability. I used glass beads,
to create a stereopticon view.
I did a video of Roman Christmas using the inherently expressive medium
of the wood cut, which hightened the complexity of images. Creative blurring
and blending of categories lubricity with jocund defilement. |
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485. THE THIRD MEMORY
Mount Nebo, which Moses ascends to gaze at the promised land…,
in reality land disputed between Isrealis and Palestinians. Paintings
that riff on art-historical styles and are peculiar narratives of the
everyday. Memory, melancholy and history, as it churns the fictive into
the real and visa versa. I contrast illusion with dissipated reality.
Ezekiel’s famous vision of a wheel in the sky carrying four beasts
with four heads, a lion, an ox an eagle and a man. Their appearance and
their work was as if a wheel as for their rings were full of eyes, around
about them four. Leticular striations cause the images to shiftslightlythroughthe
use of anamorphic illusions in surface.Art about the history of art,
the past becomes the material of the present. I mythologize apotheosis
homage and sendup legends, as comment on grandiose, an appropriation
of an appropriation. Not about who eclipses whom, but about how myths
define art. We idolize the past and how that works on the present. The
surfaces bristlees with fasteners that create an almost textile effect
one thinks of knots on a crewel embriodered cloth or of a chenile bedspread. |
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PIROUETTING ON THE WING
A mountain goat with huge horns, emits a sense of entitlement, connects and exalt
different types of low art forms within high art. For a moment, hints of depicted
scene came into focus, but these soon evaporate again into abstract motifs.
Vingnettes from relationships, the work evokes yhe willful isolence of early
adolecence. |
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477. LIKE FIREFLIES SWIMMING IN A SLEEPLESS DARKNESS
Utilizing single elipses against rectilinear backrounds of contrasting
hues, pulsating afterimages that help convey an illusion of duration.
Graceful states of suspension- natural chaos into the poetics of flow.
Voids which attract lines of force and flow around themselves. The dialectic
between negative and positive space, the precarious quality of intellectual
and physical states, awakening an inner vertical axis which found its
parallel in the human form.
0“The bird may be untethered, each inextricably linked to its
master.”
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