MAFA: Week 13, 14 & 15: Culture in a New Paradigm

February 5th, 2012

Culture in a New Paradigm

Renaissance in the Post-Digital Age:

Experimental writing/ Stream of consciousness

PhotobucketYOU ARE WHAT YOU READ | Brush and Ink/ Digital Image | Feb 5th 2012

Cultural prohibitions stop us from being in control of the fear we are in.  We cannot afford stupidity; racism; sexism; material consumerism; corporation-ism and the eternal seeking out something we have been sold to us all of our lives, by those whose interests only seek to support those labelled ’shareholders’, in a world seemingly falling apart and unforgiving to those considered human, and choose not to be consumers of mass-produced propaganda of ‘desire’ that does nothing to enhance our lives.

Desirable objects put upon a society only propagate the eternal wheel of discontent within the psychology of people born into a world on a course of destruction, for the perceived desire of ‘profit and growth’, with no room for those who decided a long time ago to drop out of a system that only cares for its own survival, through the atomisation of people and the misguided selling of ‘democracy’, one person one vote, to a culture repackaged and sold back to us as a product of desire and aspiration.

Rene Descartes proposed[i] that only humans have souls.  That a spider can spin a web better than a human ever can, yet the spider cannot spin a web creatively, giving the proposition that only humans have a soul.  That only we being able to think beyond the mechanical and in doing so allows Descartes the view that the ’seat of the soul’ was switched on, within the pineal gland, yet the removal of the ideological aspect of the soul has given us permission to rape the Earth of all its resources for the benefit of humankind, when in actuality there is no overall benefit to our species, due to the inevitable fragmentation of the psyche, due to hierarchy theory.


Nature is not mute.

Terence McKenna revealed how the idea persisted where hierarchy theory has explicated the idea of systems giving way to a fractal universe.  The macrocosm and microcosm are inextricably linked.  The intent of goal projection to perceived goals has been running wild in a society lost from paradise, separating itself from nature, when in actuality we are and always have been part of nature; seeking nature and the purpose of our journey in the unfolding of a realisation of spirit through language, art and the phenomenon of energetic qualities, that have always been linked to each level of existence, from singular cells to complex life living upon the Earth and beyond.

The direction of Society has lost itself into the embedded principles of ‘gathering’ materialisation of the self for the perceived idea of security – an evolved devolution of the human species via ‘I’ and ‘WANT’ that has been propagated by ’systems’ in fear of losing the ’security of profit’; to maintain the lifestyles of the few, who do not care for those of us at the bottom seeking ‘freedom’ from the tyranny of a civilisation built upon the foundations of material wealth, and not raised on a psychical spiritual wealth of a community of learning, helping, loving and the raising of consciousness to higher realms of understanding.  We are part of a natural biological energetic frequency of vibration, seeking the infinite from a perceived finite life that we are told is real, yet itself is an illusion created by those wishing us to be bogged down by the idea of ‘property’ that we have no idea of what to do with.

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WINTER OF DISCONTENT 1979 | Mixed Media | Dec 2011

Art, through the process of shamanic realisation can free us [through creative principles] to greater reflection and expansion of the inner-space, freeing us from the psychic demons given to us through previous misunderstandings of parents, peers and teachers who are also lost in a system built to control the very freedom we aspire towards.  To seek closure in this realm of existence that no-one understands tantalises us to more questioning of the conventions of power and institutions, whose sole purpose is to ’stay alive’ and save itself from its own fear of destruction, through ever more increasing control of our lives.

‘Time is the moving image of eternity’ Plato (c. 428–427 BCE)

‘The Shaman [Artist] leaves the mundane plane to ‘trigger’ a rupture through the plane of society’s existence into ‘new dimensions’, to behold time, as James Joyce remarks ‘in a nutshell.” (Terence McKenna)[ii]

Each of us can project ourselves and penetrate into new dimensions of existence, to revel in the realities of truth and awareness of other doorways, revealing other ways of living instead of giving ourselves over to institutions who seek to control us; dictating how to live and how to see and create.

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YOU ARE WHAT YOU READ | Brush and Ink/ Digital Image | Feb 5th 2012

The commercial artist is duped into selling their creativity to the creation of ‘image’ to form propaganda that does nothing to free us from the mire of society, but only to propagate ‘desire’ that sells illusions of existence; to aspire to be something the majority can never attain; to live a life of lies for the benefit of companies and shareholders that we are told we need.  If you ‘want’ (desire) to be something – THEN be.

Buddah said to a follower who said to him ‘I Want Happiness’ to first remove the ‘I’ for that is EGO; then remove the ‘WANT’ for that is DESIRE; and then what you are left with is ‘happiness’ [OUTCOME].  Remove (EGO) and (DESIRE) and the outcome is already yours to behold… If you REALLY want it.  But have we been taught to fear it because what do you do once you have attained it?

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CHRYSOPOEIA | Brush and Ink & Digital | Dec 2012

Take the hand that nature has given us and be un-afraid to experience that which is to be experienced.  We must be ready to let go of everything we have been TAUGHT to WANT in a society that has been brought up to be in FEAR of itself.

‘The DAO of the ancestors stare back at us every morning in the mirror of reflection.  See yourself for who you are and be aware that you see a reflection of illusions built over time, illusions that we need to strip away to get at the ‘truth’.  [Walking, thinking, conscious beings of stardust].  To remove the ‘crisis of civilisation’ that has become so complex in its diversity that we are quickening the pace of literally placing the planet at a crisis point, that inevitably will lead us to a point where we will have to separate ourselves, to become what we behold, a kind of apotheosis.  To become Divine and meet a future state of consciousness that we have been attracted towards since the beginning of time,  [to a point of closure to receive the textural information that gives meaning to substance] and new revelations of consciousness through the endeavours of humankind and all species on the Earth.’ Terence McKenna[iii]

In other terms:

‘To become one with God and return to the source of transcendence, [becoming both creator and the created, in a true shamanic sense of awareness]; riding the wave of knowledge to realise true wisdom and move forward towards a new state of ‘being’ from whatever we decide to imagine of ourselves, leading into the imagination which is our ‘true home’.  For what we imagine we create and what we create becomes our reality… literally.’ Terence McKenna[iv]

The ‘mirror of our mind’ allows us to create ’stuff’ allowing us to move beyond the material and into the realm of ideas and the imagination, towards the path of being true and of true enlightenment.  A new Renaissance for being.

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CHRYSOPOEIA PSYCHEDELIA | Brush and Ink & Digital | Dec 2012

If not then we will continue to follow a course of action that is controlled and manipulated by a hidden elite who are masterful in their controlling of resources:

‘The Lacanian view of hidden language within the psychology of people and the repression of ideas and thoughts could lead to new forms of dis-ease within illusionistic culture. Ideology inevitably leads to the destruction of the ’self’ and our connection to community. Through the division and separation of tribal forms of culture I can foresee a push towards a new global form of economic control, through the restriction of food production (corporate control/ GMOs/ mono-agriculture), consumerist attitudes to materialism and the loss of the Divine within the human soul.  Some talk of a spiritual path yet are unaware of their separatism from their community and culture. In the UK as we move closer to devolution, my concerns lay with ever more increasing English Nationalism, leading to new forms of control and new forms of dictatorship. This will only end up fuelling further repression, stifling creativity and increased angst, leading to an exponential increase in forms of mental illness, protests, rioting and dis-eases (August 2011 riots/ Occupy/ 99%) … something Big Pharma will relish and Governments will enjoy through the dumbing-down of people through the SOMA of ever more increasing novelty. This is something that is happening in Egypt, Libya and the revolutions of the Middle East through the restriction of new freedoms via Militaristic governance.’ Adam Grose[v]

Are we ready to see the ‘truth’ of our past and be willing participants in the removal of the masks created by culture that is most definitely NOT your friend?

‘The brain is more like a receiver of consciousness rather than the brain creating consciousness, in the same way programmes are not made in your TV… the box is too small.’ Terence McKenna[vi]

Adam R. Grose BA (Hons), PGCE, MIfL

www.adamgrose.com


i – Descartes, Rene, Animals as Machine, Powerpoint Lecture, <kellyinglis.files.wordpress.com/2008/03/animals-as-machines.ppt>

ii – McKenna, Terence, Understanding and Imagination in the Light of Nature, Lecture by Terence McKenna <http://www.youtube.com/watch?v=KCbBVUiQzVM> Accessed Jan 28th 2012

iii – Ibid

iv – Ibid

v – Grose, Adam, Art as Transformer: First Draft (Working Title), (Falmouth: UCF, 2012) – MAFA – Extended Essay in progress

vi – McKenna, Terence, Understanding and Imagination in the Light of Nature, Lecture by Terence McKenna<http://www.youtube.com/watch?v=KCbBVUiQzVM> Accessed Jan 28th 2012

The Crisis Of Civilization

January 26th, 2012

The Crisis Of Civilization.

1/5 Dave Kellett’s “The Freeing of the Comics” Lecture – YouTube

January 25th, 2012

1/5 Dave Kellett’s “The Freeing of the Comics” Lecture – YouTube.

P. Sainath on Mass Media v. Mass Reality: From Farm and Field to Wall Street Deals – YouTube

January 14th, 2012

P. Sainath on Mass Media v. Mass Reality: From Farm and Field to Wall Street Deals – YouTube.

Interesting discussion with Hilary Lawson, Jane Simpson, Ben Lewis and Adam Dant.

January 12th, 2012

MAFA in Contemporary Practice Interim Show

January 11th, 2012

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PhotobucketPizza Express - The Lobby/ Gallery, Falmouth.

TOM BROMWELL

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Coeruleum BLUE Hue : Acrylic : 2011
Tom Bromwell

JULIET WALSHE

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TREE LINES OF/ AND THE JOURNEY : Prints on paper
(Photocopies transferred via an etching press on paper)
December 2011 : Juliet Walshe

EMMANUELLE GODEAU

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SQUAT IN THE WOODS : Screen-print on paper
October 2011 : Emmanuelle Godeau

ADAM R. GROSE

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WINTER OF DISCONTENT (1979) : Mixed media acrylic, MDF & Plywood
Dec 2011 : A R Grose - Left view

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WINTER OF DISCONTENT (1979) : Mixed media acrylic, MDF & Plywood
Dec 2011 : A R Grose - front view

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WINTER OF DISCONTENT (1979) : Mixed media acrylic, MDF & Plywood
Dec 2011 : A R Grose - right view
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AUGUST-US : Oil on Canvas Stretcher
Sept 2011 : A R Grose
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EUROZONE : Oil on four stretched canvases
Oct/ Nov 2011 : A R Grose
PhotobucketPOLICY : Oil on Stretched Canvases : May 2011 & Dec 2011
A R Grose
PhotobucketWHEN I GROW UP... : Oil on stretched canvas : Aug 2011
Adam R Grose
PhotobucketDODGY DOSSIER (Icarus) : Oil on stretch canvas : March 2011
Adam R Grose
Photobucket[Lost Childhood Series]
PhotobucketAdam R Grose & Juliet Walshe

Susan Clarke

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Danielle McGowen

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Emmanuelle Godeau

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Isobel Haysom

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Oonagh Glancy

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and two films by Kathryn Wilkins

accessible from Kathryn’s website:

www.kathrynwilkins.com

Extended Essay Proposal

January 10th, 2012

Art as Transformer (working title)

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“Who interprets the divinity inherent in nature for us today?  Who are our shamans?  Who interprets unseen things for us?  It is the function of the artist to do this.  The artist is the one who communicates myth for today.”

Joseph Campbell

Synopsis

Artists create work based on ideas that evolve through reflective practice.  Meditating on their work allows greater understanding of their practice, enabling them to seek new languages to contextualise our contemporary society.   I propose to analysis the way we use images as a form of identification of our being and how, artists as contemporary shamans, enable society to process changes within the collective experience.

Structure

I plan to explore my thoughts and ideas as a result of looking at Media images and explore how my work relates to the role of the artist as shaman.  My practice allows a way to understanding more about how images, from our past and present, have profound effects on the way we think, feel and behave in our lives.

An area I am interested in is how press photography appears weaker in its present form.  The digital age has allowed us the ability to take thousands of images, without the ability to frame an idea.  We have become ‘paparazzi’, capturing the moment.  35 shots on film allowed time to think about an interesting shot; 1000 shots on an SD card and so free we no longer care what makes an interesting shot, yet we keep shooting because we might find something.  The newspapers can have any image out of thousands to the point that the image has become secondary to text, devalued.

What makes a seminal image today?

People move from one image to the next, no longer thinking about what they are looking at.   The repeated imagery trickled down to the Media and could quite honestly be considered a form of ‘pornography’.  Slight variations, but the same repeated imagery over and over.  It has become a comfort, a habit, an addiction.  Society fed on information that has become repeated to allow comfort, becoming a zombie nation gratified through repetition, devoid of critical analysis by the masses.

Photos have become the film of our lives, all sharing/ shared on social networks.  News Agencies have become fixated with the same/ similar stories; repeated over and over into a form of textual pornography.  We need to get away from the repeated forms, the regurgitated.  We need a new language, a new way of seeing.[i]

As a painter looking at many images and choosing one I will save from obscurity –  I seek the  seminal image, the one that changes ways of thinking – seeking ‘simplicity over complexity’[ii].

Methodology

I intend to explore philosophical concepts and role of the artist related to painting and photography, in contemporary society, through an analysis of;

  • seminal photo journalist/ journalism throughout a certain period of time
  • one news paper between a set time period
  • artists’ that use Mass Media imagery to use in painting (Richter, Sasnal)
  • images I dare not paint and images I consider aren’t good and turn into paintings
  • philosophical ideas as presented by modern philosophers like Slavoj Zizek[iii], Noam Chomsky and others

Artists reveal obscure ‘historical’ moments reverberating through time that shapes the artist’s/viewer’s experience[iv], in turn shaping the way we think/ view reality.


[i] Lawson, Hilary, Closure: A story of everything, (London: Routledge, 2001) – Philosophical insight into the way we view the world through language and meaning.  Explores a theory that we close down reality through our stories instead of leaving ourselves open to new possibilities and how we make sense of ourselves.

[ii] The Fluxus artistic philosophy has been defined as a synthesis of four key factors that define the majority of Fluxus work:  Fluxus is an attitude. It is not a movement or a style. Fluxus is inter-media.  Fluxus creators like to see what happens when different media intersect. They use found and everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts.  Fluxus works are simple. The art is small, the texts are short, and the performances are brief.  Fluxus is fun. Humour has always been an important element in Fluxus.

[iii] Zizek, Slavoj, Welcome to the Desert of the Real, (London: Verso Books Ltd., 2002) – Calls into question ‘capitalism’ and how the USA has possibly become ‘fundamentalist capitalism’ in its attitude to other Nations leading to a rise in Religious fundamentalism.

[iv] Dyer, Geoff, John Berger: Selected Essays, (London: Bloomsbury, 2001) – Giacometti: An analysis of his work and how the viewer stands in place of the artist.  Therefore the viewer stands before the art and stand in place of the artist, reflecting on the moment of creation, yet when the artist has died, the art becomes a historical document of the artist’s time for the viewer to contemplate.

MAFA Interim Show

January 9th, 2012

The Master of Art Fine Art in Contemporary Practice show is upcoming from this Wednesday the 11th January 2012.  This show is split between two venues: University College Falmouth at the MA Fine Art studios, by the Library as you walk in on your left from Woodlane.  Artists exhibiting work: Susan Clarke, Danielle McGowen, Emmanuelle Godeau, Isobel Haysom and Oonagh Glancy and in the AV studios exhibiting filmwork: Kathryn Wilkins (11th January – 13th January) and at Pizza Express (11th January – 21st January) located next to Falmouth Maritime Museum exhibiting work: Tom Bromwell, Emmanuelle Godeau, Juliet Walshe and Adam Grose.

I have included a few photos here of Pizza Express and the updated flyer.  If you are in and around Falmouth during this exhibition and fancy viewing some MA Contemporary Practice that provokes thought and discourse, please come along and take part in an interim show experiment in gaining an insight into Contemporary Art Practice in a public space ;D

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Flyer/ Poster

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Adam Grose

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Adam Grose & Juliet Walshe

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Juliet Walshe

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Adam Grose & Emmanuelle Godeau

More to come..

Gerhard Richter: Experimental Writing Exercise

January 7th, 2012

An experimental piece of writing created at the exhibition of Gerhard Richter.  This recorded my initial thoughts from the paintings and artwork I observed and the people around me and their reactions.  I was trying to feel the sense of the room – the vibe of what others were feeling in response to his work.

A Journey through the Panorama

Paintings taken from magazines – blurred and dragged across the surface – from cars to planes from the second world war – the planes in ‘Mustang Squadron’ – at an angle from right to left – people stand in that ‘looking at art pose’ – folded arms – wonder in their eyes – learning how to see – average of 5 minutes per picture – not questioning/ questioning the work – talking about the title rather than the painting – Mustang Squadron – dragged paint and splatters of red on the surface – a potent to what is to come – the death squad has come to kill in the name of country and democracy – a war built on profit – the contrasts of understanding where we stand – the crowd impressed and reconcile with a past – removed from a time that is a memory built from the films and TV histories and movies that give us a history of our place in time –

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A time shifting through the constant opinions of experts who have built fragmentary pasts that call to question the very nature of our being – ‘He paints pictures that look like photos’ the lady behind me informs –

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Re-interprets the photo to make sense of the propaganda of his time that shapes OUR sense of TIME – to reveal the deep recess of a memorial to the images he has saved from obscurity – The flatness of TONE – the stencil nature of the copy – the movement of objectified space caught in a chemical fix and reproduced ten-fold – now a painting for the subjective interpretation of meaning – from a mindscape of a world lost in an image of itself – the Dorian Gray of the modern world and of the wondering child within – the subconscious language of our fathers and mothers before us – a reflecting synthesis of spirit and the material – eternally calling for re-evaluation.

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Chair in profile – a resonance to Van Gogh (?) – repeating imagery no longer 3D in presentation – flat, or flattened – the banal existence of an object that has a function only when someone observes it – a functionless object when not in function or seen – frozen in time/ time is frozen – suspended in space – the blackness coming from below – it floats in memory – representing a time now lost and re-contextualised in new futures to each generation –

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A time to reflect on the purpose of its place – a place we give it – like the memory of our own chairs – we give them meaning in the same way of other ‘things’ – the mother and child have a place in our time but only as representing for us those WE know – our relationship reminds us of those we love – the paint obvious to remind us of the infallible place we have created in the language of our minds – translucent and transcending the spirit of the age we have no material connection with in the banality we replaced with novelty – our lost spirit of the human consciousness with the ‘Death of God’ [The Gospels, Nietzsche]

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TIGER prowls – symbol of the animus? – the male after the female – the history of the world war – the Nazi and of realism – the abstraction of the psychic played out in a theatre of paint – brochure landscapes of the Egyptian sun – comic panel narrative – The faded memory of the war in the desert – Uncle Rudi and the history of Gerhard’s own family – the inter-play between the images – the Nazi reality viewing the TIGER and the ROMANTIC REALIST painting of a couple in flirtation – the holiday destination and the illusionary promised land.

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After Duchamp – a challenge – I watch from the other side of the glass windows at angle – observing them view the painting of EMA – admiring her beauty from a man in love with his wife – a challenge to show painting was not dead – the ghostly image descending the stairs into the room of the onlooker – like an arc-angle of light walking down the stairway of heaven – the other world of imagination bringing colour light into the room of those who admire.

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The bombed city – the noise and the anxiety of those times – Dresden – those caught up in the midst of the oncoming allied storm – the inter-play between bombed Paris and the Sea –

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The chaos of nature and mankind – the power of nature and environment and the evolution of our species from nature to man – awareness to know no bounds – we seek patterns – to make order from the chaos – the destructive element of our continual entropy – nature destroys to create anew – we destroy to create a new – the sublime nature of that which is beyond comprehension –

PhotobucketCaspar David Friedrich

Casper David Friedrich and Monet resonant within the abstract landscapes – the power of paint – through time we leave impressions – the memories of a time we once existed in – now but symbolic images that reveal feelings we layer on top of one another – some factual – an impression of what it is ‘to be’ – landscapes as portraits – self-portrait of the artist as representative of his culture and the world he inhabits – 2m x 2m canvases – scale to the human experience – to be overwhelmed by the nature of his skill in the representation of the world he sees before him.

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Grey paintings abstract reality – abstract colour squares shimmer in the mind’s eye – image of the frequency – clouds float and transfix the mind to the lazy days of staring at the sky – relaxing and enjoying the shaping by the wind – of nature revealing itself piece by piece of its nature – the brush-mark photo reproductions – harmony of light and colour – the composition of the synaesthesia-tic  mind – strange creatures and figures reveal themselves from deep in our collective – the obscure memories and sights released in response to its mirror – a copy of Titian – a homage to the great – the ordered to the unordered – the balance of harmony and colour with each broad stroke of the artist’s wand of magic – the alchemical processes within the realm of imagination given life upon the canvas mirror – factual replicated – dragged paint of the calm and the tense – ripped marks and the tracings of the past – previous layers coming through –

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Water comes to mind and trees – willow trees hanging over a river or lake – the sunlight dappling on the surface – the ripples reflect and shift – ripped billboards and posters – of paint flaking away – the textures of boards and weathered painted wood – ‘Beanstalks with fire on top … yes, beanstalks with fire’, says the five year old boy, in jubilation at what he’s seen and reporting his find to Dad.

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‘Abstract Painting 1987’ like something from a 1960’s LSD movie effect – the mind is on a trip – taken on a journey through the web of colour – striking and alive – the shifting contrasts – a fight for attention – for recognition to our minds – Landscapes – devoid of people –

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The mark of humans on the land – the buildings – the way the land had been shaped over the centuries – the history of the land – the mark – silence filled with chatter – the crowd discussing the images – the depth and unreality of these views – these panoramic images of space –

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Flat yet with depth – RED ARMY FACTION – The grim reaper has visited – powerful grey paintings – repeated images of members of the group – suicide – hung – dodgy – something we still see today – reminding me of the conflicts in Iraq and Afghanistan – the chiaroscuro technique – from out of the darkness – retelling a history not known to the main – the art having a life of its own – the varied – the static – the revealing – the closing –

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Opening of the imagination and a point of view by one of the greatest – the CAGED has being un-CAGED and set free through the chances and accidents of improvised movements – this was the exhibition Panorama of Gerhard Richter.

END… for now.

MAFA in Contemporary Practice Week 10, 11 & 12/44

December 30th, 2011
Art as Transformer of Consciousness
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SCALE: Detail
[Click on the images for larger versions]

Logbook Analysis

During this Christmas season I have had time to reflect upon the work I have researched over the last three months at Falmouth University. During the last three weeks I have covered a lot of areas regarding my current work, including a presentation to my MA Fine Art group.  Ron Ford asked if I actually found time to sleep – occasionally I do; I tend to work continually without stopping as I have such a passion for the work I have been exploring.

I have been preparing for the extended essay proposal I have to write for handing in; including an annotated bibliography and a re-written logbook.

Presentation

The presentation I gave explored the work I had been doing during the last three months to do with ‘obscure/ obscurity’ – and although I have thought deeply about the work I have been following, there was a fear that the work was only informing the next piece – a kind of ‘one piece informs the next’, without a clear definition what it is I am trying to reveal.
However, I am beginning to formulate my ideas into a clear definition. The work has led me to ‘Art as Transformer’. What I mean by this is in the shamanic tradition – the artist as a modern shaman revealing the collective consciousness as revealed by Carl Jung.

I have been devouring literature to do with psychoanalysis and the inner-mind with images coming from my past, dealing with issues in the political and social realm from a period of time between 1975 and the present.  I have included my presentation here to examine.

Logbook

This has been a journey to establish the role of this research document. References to work, journals, quotes, exhibitions, peer review and the ideas I am interested in and currently researching. I am currently re-writing this to enable an easier way to understand where my work fits in.
I am used to creating a visual diary, taking what is necessary to included in the logbook – this has been a task and I have spent many an evening trying to understand the process more fully. I am getting there and am sure I will crack the code. To do this I have decided to create three voices inspired by Freya Morgan – These will be a Critical, Relational & Technical voice. From these I will extract the most relevant of my research work and place into the main logbook to serve as the main voice.

Current Work

The work I have been following during this research process has evolved into two areas of interest:

1. Heads & Portraiture
2. Simplicity over complexity (Fluxus) [i]

I have been creating portraits of many politicians and people in positions of power. The head can be interesting in many ways as symbols of the head of a company, of power, in the trough and the social mask of celebrity. This can also respond to the past when we used to cut people’s heads off as punishment.

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SCALE: Oil on Canvas: Framed: Oct/ Dec 2011

I paint fast to reduce any possible influence from thinking during the process of painting. To do this I have limited the amount of time available in the creation of the image (40 – 60 minutes).

I am experimenting with getting at the hidden within the portrait, to get behind the mask presented by those caught in the spotlight of celebrity – the social mask. The unreal illusion of the social mask that replaces the real; or rather to remove the externalised facade of the internalised inner-mind of personality, through the removal of the chatter that goes on in the mind of the artist, the continual improving or shaping of the image.
I am interested in the ‘snap-shot’, the intuitive aspect of ‘self’, not the ‘self’ we place before us and project into the external space.

PhotobucketEUROZONE: Oil on Canvas: Framed: Oct/Dec 2011
[Painted a month before the Eurozone crisis: Prophetic]

For this reason I have been reading Carl Jung (Archetypes and Mysticism), Sigmund Freud (repression expressing physical ailments/ pains), Jacques Lacan (repressed language expressed as illnesses (pains, illness and war/ conflict) and Georg Wilhelm Friedrich Hegel (purveyor of western philosophy and Marxism) and the brilliant modern philosopher and cultural critic Slavoj Zizek.[ii]

“Cinema is the ultimate pervert art. It doesn’t give you what you desire – it tells you how to desire.”
(Slavoj Žižek) [iii]

Mass Media  experts’ opinions only serve to tell us how to live and desire, rather than moving society away from barbarism. [iv]

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CHRYSOPOEIA : Brush and Ink on cartridge: Dec 2011 [v]

I am exploring the psychoanalytical/ philosophical avenue as I theorise that all social problems, internal repressions of hidden desires, fetishes, traumas, stresses and conflicts in the mind are in part due to unresolved issues people carry within themselves, being too much in fear of getting to the truth of the problem. Lacan and Freud show us that most diseases and pains are the result of deep internal repressions; from trauma (PTSD, stress, childhood and adult trauma (abuse in all forms mental and physical etc…)) to hidden desires and wants and secrets, which if not integrated into one’s life will plague the individual with a sense of guilt and worry which in turn may lead to illness/ conflict.

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WINTER OF DISCONTENT: Charcoal Lines: Dec 2011

The reason I am following this line of inquiry is due to my fascination with Mass Media [as a publisher] and its role in society. Newspapers, internet, television, radio, magazines, comics… they all have their role in the development of ‘mind’; giving us a platform to view our place in the world. We develop from children to adulthood from influences, directly and in-directly by these Medias. They show us how to live, how to dress, how to see, how to think, how to feel and how to be. In today’s world of the corporate powerhouse others are deciding  how we should be as ‘citizens’ and what our ‘ethics’ should be.

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WE THREE KINGS – Oil on Canvas (Unfinished study) – Dec 2011

Yet, in some part we have been reduced to ‘consumers’ of materialist wants.
The exponential growth of globalised knowledge has led us towards a more fragmented society, bringing with it the old ‘barbarian’ attitudes, especially since 9/11 and the terrorist attacks. America had a chance to change, to re-evaluate its place in the world – instead the USA followed its old line.

“On September 11, the USA was given the opportunity to realize what kind of a world it was a part of. It might have taken this opportunity – but it did not; instead it opted to reassert its traditional ideological commitments: out with feelings of responsibility and guilt towards the impoverished Third World, we are the victims now!” (Zizek, 2002) [vi]

Now an image can become an ‘icon’ overnight worldwide. Never before have we had it so easy to retrieve knowledge at the fingertips. We are now more open to ‘manipulation’ from propaganda.
An image can capture the ‘zeitgeist’, a moment captured from all angles, a shift in consciousness. From the images transmitted over the television and the internet of the collapsing WTC towers to an image of President Obama in a similar art style akin to Che Guevara’s iconic stencilled style portrait. This use of the ‘urban’ resonanting with popular culture, using the graffiti style of ‘street culture’, (Banksy) which has exploded into the mainstream.

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CHE GUEVARA & OBAMA: Appropriated Imagery for Social Democracy
[Note:  Che Guevara looks to his right and President Obama looks to his left]

It is at this point I introduce the outline and the acrylic cut-outs I am exploring in my work. The main reasons for these are as follows;

  1. Plastic culture
  2. Shadow/ outlines
  3. Theatrical
  4. Exploring Shakespearian metaphors: ‘Winter of Discontent/ All the world’s a stage’
PhotobucketWINTER OF DISCONTENT: Acrylic Sheets & MDF/ Plywood: Dec 2011

From Shakespeare’s As You Like It, 1600:

JAQUES:  “All the world’s a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages.”

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WINTER OF DISCONTENT: Acrylic Sheets & MDF/ Plywood: Dec 2011

Video of Winter of Discontent showing use of projected light

I leave you with this to ponder and wish you a Happy New Year and a brilliant 2012.

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Che Guervera – Andy Warhol Style – Unknown Artist

Footnote References:

i          The Fluxus artistic philosophy has been defined as a synthesis of four key factors that define the majority of Fluxus work: Fluxus is an attitude. It is not a movement or a style. Fluxus is inter-media. Fluxus creators like to see what happens when different media intersect. They use found and everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts. Fluxus works are simple. The art is small, the texts are short, and the performances are brief. Fluxus is fun. Humour has always been an important element in Fluxus.
ii         Slavoj Žižek (pronounced [ˈslavoj ˈʒiʒɛk]; born 21 March 1949) is a Slovenian philosopher and cultural critic working in the traditions of Hegelianism, Marxism and Lacanian psychoanalysis. He has made contributions to political theory, film theory, and theoretical psychoanalysis – http://en.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek
iii        Zizek, Slavoj, The Pervert’s Guide to Cinema, http://www.youtube.com/watch?v=8sFqfbrsZbw
iv       John Baldacchino is currently Associate Dean at the School of Art & Design at University College, Falmouth, United Kingdom. In his lecture ‘Citizens or Barbarians?’ the wording of barbarian was ‘Those who did not speak the main Language.’ When you try to create an ‘ordered, systematic organisation’ you in effect become a barbarian. For example: The German Republic was once considered ‘barbarian’ by the Holy Roman Empire in the quest for dominating Europe outside the ‘Latin realm’; yet, over time as Nationalism came to dominate German society, resulting in ‘fragmentation and absolute reason’ this gave rise to Fascism and the Third Reich. Adolph Hitler convinced the German population that the ‘Jewish Nation’ were the ‘barbarians’ of their time leading to Jewish incarceration in ghettos and eventually removed via concentration camps. It is what has become known as ‘Identitarian’, or the right of Europeans to protect their cultural identity from the influences of those considered ‘outsiders’, which can be viewed akin to a form of racism. http://www.johnbaldacchino.com/index.html
v        In alchemy, the term chrysopoeia means transmutation into gold (from the Greek khrusōn, gold, and poiēin, to make)
vi      Zizek, Slavoj, The Desert of the Real, (Brooklyn: Verso Books Ltd,.2002)