Skip navigation

Category Archives: perception

 

Faultline, Neil Campbell

 

Painting is often difficult to talk about. Especially Contemporary Painting.

According to Neil Campbell (an artist, curator and educator at Emily Carr University), painting has the ability to “deliver you to the artist’s mentality.” He offers mentality in the broadest sense, implying the full human spectrum of mind-body-spirit: rational cognition, intuition, emotions, physical rhythms, affects and experiences not necessarily rooted in the verbal (Monika Szewczyk). The activity of Painting can be interpreted as an investigation in mind-expansion.

Thirteen strategies for enjoying Contemporary Painting.

 

Inglewood, Bronwen Sleigh

 

 

Middle Earth, James KM

 

Spend time with it. The average viewer spends less than 20 seconds experiencing a painting. It probably took the artist longer than 20 seconds to make it. You would be doing yourself a great injustice by dismissing it so quickly. Even if did take the artist only 20 seconds to make, this 20 seconds is the product of a lifetime of practice.

Be an active participant. As a viewer, you are responsible for completing the artwork for yourself. What you see and feel are often very different from what you say. Each painting has the unique ability to deliver you to a space that is beyond verbal language. The artist is merely the mediator and the artwork is the backdrop for discovery! There is a subtle intelligence to painting. The maker had an intimate relationship to it, so in experiencing it, you are experiencing yourself.

Ask questions.

 

Concrete Cabin, Peter Doig

 

List of possible questions:

How do I feel when I stand in front of it?

 

Landscape, Eric Freeman

 

Where does it take me?

What is the artist’s agenda?

Do I care to figure it out?

Can I sense the underlying structure and logic of the system?

 

Caltex, Holger Kalberg

 

How does the scale interact with my body?

What colours and techniques did the artist use?

Is this an illusionary space or a flat surface?

How does the medium describe the ideas inherent to the work?

Is this image a response or reference to something other than itself?

 

Frontier, Garth Weiser

 

Realize that there are no set meanings in visual art. Many kinds of knowledge cannot be understood by the mind but enter the body in ways we cannot describe with words.

 

Problem Of Nothing, Michael Morris

 

Appreciate that the physical presence of a painting bears weight. For it to exist in public means that it has a presence in the canon of art. Once an artwork leaves the artist’s hands, it takes on a life of its own and now belongs to its audience.

Know that a large part of visual art is Frustration. Anything that is too easily obtained isn’t worth having.

 

Passage, Brian Fisher

 

Appreciate that each visual work has its own language. Even though we are all made of the same evolutionary hardware, we are all different and express in different ways. Some people are good with words, others are good with pictures.

 

Wade Wood (detail 2), Charlie Roberts

 

 

Action Painting, Vik Muniz

 

Realize that having eyes does not imply knowledge about Visual Art. Sight is more than just owning a pair of eyes.Visual art and music are probably the most readily consumable forms of expression out there because everyone feels entitled to their taste and sense of value. The difference between participating in art and being an art consumer is the amount of time invested and intentions behind the effort. Doctors go to medical school to advance the knowledge of the human body. Scientists devote their lives to research in order to advance our definition of science. Artists go to art school to expand the definition of art and in doing so, growing our awareness of what it means to be human. So to recap, to know something about visual language is more than just consuming with your eyes and knowing how to write a cheque.

 

David Shrigley

 

Be aware that words like post-modern and contemporary just imply the acceptance of uncertainty, change, possibility and turning inward. Artists working today are concerned with expanding the definition of how painting functions as a medium and how you can re-interpret and re-inhabit this two-dimensional surface without repeating the past, unless doing so intentionally. If all else fails, make fun of yourself.

 

Layer Painting Red, Jeremy Hof

 

 

Subway, Inka Essenhigh

 

Know that Visual Art is more than a comparison game. If you hear someone saying, ‘oh my child could have done that,’ the fact is that they didn’t. Art requires creativity and creativity lies in the ability to take an idea and execute it. Everyone can criticize in hindsight, but how many actually follow through with their ideas?

 

Nice 'N Easy, After Botticelli, John Currin

 

Enjoy the Silence. Silence creates a space for interpretation and growing one’s awareness. Quiet time for yourself means that you are open to inspiration that is everywhere, all the time, available to anyone with an open, untroubled mind. The collected sum of these moments can be defined as one’s sensibilities. What you see in a work of art are the collected sensibilites of an artist’s lifetime of practice and discipline. Children are often more receptive to inspiration. Perception is reception.

Realize that liking and disliking something are relative terms that don’t mean much. If you do not

 

Corner and Goers, Etienne Zack

 

‘like’ a work of art, could it be that it is simply foreign territory? We tend to be drawn to things that validate our own existence and when something is unfamiliar, it can create an existential crisis.  

 

Egg, Lucio Fontana

 

Be Present. Let go of what you need to do later on and what you’re having for dinner. Your anxiety is not welcome here. Everything is perfect in this moment. Enjoy it!

Psychedelic Lollipop, Gary-Lee Nova

How am I not myself?

I am not myself when I let this moment slip away without being here. Being now. Or now.

Where am I?

Elsewhere.

Elsewhere upstairs where reality fades and a new language divorces me from myself.

I am not myself when I am elsewhere.

Away from this moment. Away from my breath and my body and living in my mind. I have ceased to be me, when the me I thought I knew has taken a trip far far away. The me I become is a construct of mind, speaking in a language I don’t recognize. Do I want to live here where the dinner conversation is fractured at best?

A moment, waiting to be enjoyed and missed because of my troubled mind. The yearning for something that is not and the rejection of what is. I know little. What I do know is true. Truth reveals itself to me when I don’t need it. Fleeting moments of awareness and action spring forward and open me to the inspiration that is everywhere, all the time. I am not open to it when my distractions live with me.

Nature is mother. When I detach from me and mother becomes other, I am dislocated. When I breathe the sea air and hear its song, that is reality. When the me I thought I was turns on the radio, the me that is here goes upstairs into the unreality of intellect and politics. To live here means the death of now. They murder me and dampen the sound of quiet joy. The me I want sometimes forgets the words to a song that I once knew. But I’m learning it again. The People Doing Very Important Things All the Time tell me that the body serves the mind. But the children tell me that it’s the other way around.

I am you and you are me. I can only know me through you. You and I make three.

We are not alone when we are here. I can only be me when I surrender to this moment that we’ve shared. At times painful, but always fair.

When everything has a home, I am home. When I am aware of this, the moment is gone, waiting to be re-discovered. My limited grasp of perfection slips under my feet like a shadow. Acceptance of me allows myself to simply be.


‘dymaxion car #4’ at ‘bucky fuller & spaceship earth’ exhibition at ivorypress art + books, madrid
© sebastian marjanov

bucky fuller & spaceship earth is the title of a new exhibition looking at the work of buckminster fuller being held at
ivorypress art + books in madrid. the show is running from september 1 to october 30 and is curated by norman foster
and luis fernández-galiano. the exhibition features drawings and models including the recently completed recreation
of the dymaxion car. foster worked with fuller for the last 12 years of his life and explains that fuller  ‘had a profound
influence on my own work and thinking’. the new dymaxion car was commissioned by foster based on fuller’s own
drawings and prototypes. the prototype was built in east sussex by the car restoration company crosthwaite & gardiner.

http://www.ivorypress.com
http://www.fosterandpartners.com


‘bucky fuller & spaceship earth’ exhibition at ivorypress art + books, madrid
© sebastian marjanov


‘wichita house model’ at ‘bucky fuller & spaceship earth’ exhibition at ivorypress art + books, madrid
© sebastian marjanov


‘bucky fuller & spaceship earth’ exhibition at ivorypress art + books, madrid
© sebastian marjanov


dymaxion car #4
©gregory gibbons


dymaxion car #4
©gregory gibbons


dymaxion car #4

ascetic” (adj.) derives from the ancient Greek term askēsis (practice, training or exercise).

Originally associated with any form of disciplined practice, the term ascetic has come to mean anyone who practices a renunciation of worldly pursuits to achieve higher intellectual and spiritual goals for himself or herself.

Lecture at Cornell University – Agnes Martin

I want to talk to you about “the work”, art work.

I will speak of inspiration, the studio, viewing art work, friends of art, and artists’ temperaments.

But your interest and mine is really “the work” – works of art.

Art work is very important in the way that I will try to show when I speak about inspiration.

I have sometimes put myself ahead of my work in my mind and have suffered in consequence.

I thought me, me; and I suffered.

I thought I was important. I was taught to think that. I was taught: “You are important; people are important beyond anything else.”

But thinking that I suffered very much.

I thought that I was big and “the work” was small. It is not possible to go on that way. To think I am big is the work is big.

The position of pride is not possible either.

And to think I am small and the work is small, the position of modesty, is not possible.

I will go on to inspiration and perhaps you will see what is possible.

As I describe inspiration I do not want you to think I am speaking of religion.

That which takes us by surprise – moments of happiness – that is inspiration. Inspiration which is different from daily care.

Many people as adults are so startled by inspiration which is different from daily care that they think they are unique in having had it. Nothing could be further from the truth.

Inspiration is there all the time.

For everyone whose mind is not clouded over with thoughts whether they realize it or not.

Most people have no realization whatever of the moments in which they are inspired.

Inspiration is pervasive but not a power.

It’s a peaceful thing.

It is a consolation even to plants and animals.

Do not think that it is unique.

If it were unique no one would be able to respond to your work.

Do not think it is reserved for a few or anything like that.

It is an untroubled mind.

Of course we know that an untroubled state of mind cannot last. So we say that inspiration comes and goes but really it is there all the time waiting for us to be untroubled again. We can therefore say that it is pervasive. Young children are more untroubled than adults and have many more inspirations. All the moments of inspiration added together make what we call sensibility. The development of sensibility is the most important thing for children and adults but is much more possible in children. In adults it would be more accurate to say that the awakening to their sensibility is the most important thing. Some parents put the development of social mores ahead of aesthetic development. Small children are taken to the park for social play; sent to nursery school and headstart. But the little child sitting alone, perhaps even neglected and forgotten, is the one open to inspiration and the development of sensibility.



Is it possible that emotional stress and negative thoughts manifest into physical disease?

According to Dr. Bach (pioneer in Bach flower remedies – using flower essences to heal mind-body imbalances), it is one’s emotional well-being that causes physical illness. Here are seven main moods which are the roots of all diseases that prevent us from being true to ourselves:

1) Fear

2) Uncertainty

3) Insufficient interest in the present circumstances

5) Loneliness

6) Despondency or despair

7) Over-care for the welfare of others

And there are in his words “seven beautiful stages in the healing of the disease:”

1) Peace

2) Hope

3) Joy

4) Faith

5) Certainty

6) Wisdom

7) Love

Dr. Bach stated: “Our fears, anxieties, greed, suppressed emotions, likes and dislikes are the initial causes of diseases.

Disease in reality, focuses our attention inwards, reinforcing the need to listen to our true selves. The Flower essences return us to our own path, not by attacking the disease, but by flooding our bodies with higher vibrations. The flowers are picked on a warm summer day in full sunshine. They are placed in a glass bowl with fresh spring water, if possible, taken from a spring close to where the flower was picked. The bowl is then placed in the sun for about three hours. According to Dr. Bach, the sun transfers the energy of the flowers into the medium of the water, becoming ‘energetically impregnated.’ After impregnation, the flowers are removed from the solution, and a small percentage of brandy is added for preservation. The Bach flower remedies carry charges from air, soil, water, and sun, as all the four elements are needed for proper growth and blooming. Here are some of the Back flower remedies and the symptoms associated with their proper administration:

1. Agrimony – mental torture behind a cheerful face

2) Aspen – fear of unknown things

3) Beech – intolerance

4) Centaury – inability to say ‘no’

5) Cerato – lack of trust in one’s own decisions

6) Cherry Plum – fear of the mind giving way

7) Chestnut Bud – failure to learn from mistakes

8 ) Chicory – selfish, possessive love

9) Clematis – dreaming of the future without working in the present

10) Crab Apple – self-hatred

11) Elm – overwhelmed by responsibility

12) Gentian – discouragement after a set back

13) Gorse – hopelessness and despair

14) Heather – self-centeredness and self-concern

15) Holly – hatred, envy, jealousy

16) Honeysuckle – living in the past

17) Hornbeam – procrastination, tiredness as the sought of doing something

18) Impatiens – impatience

19) Larch – lack of confidence and self-esteem

20) Mimulus – fear of known things

21) Mustard – deep gloom for no reason

22) Oak – the plodder who keeps going past the point of exhaustion

23) Olive – exhaustion following mental or physical effort

24) Pine – guilt

25) Red Chestnut – over-concern for the welfare of loved ones

26) Rock Rose – terror and fright

27) Rock Water – self-denial, rigidity, and self-repression

28) Scleranthus – inability to choose between alternatives

29) Star of Bethlehem – chock

30) Sweet Chestnut – extreme mental anguish, when everything has been tried and there is no light left

31) Vervain – over-enthusiasm

32) Vine – dominance and inflexibility

33) Walnut – protection from change and unwanted influences

34) Water Violet – pride and aloofness

35) White Chestnut – unwanted thoughts and mental arguments

36) Wild Oat – uncertainty over one’s direction in life

37) Wild Rose – drifting, resignation, apathy

38) Willow – self-pity and resentment

“All the diseases are like children of the diseased minds which make unhealthy decisions: envy, jealousy, selfishness, etc and a poisoned mind will slowly insert the diseased roots into the body and vital organs.”