Archive for June 2009
What can one say? The art of copying. What isn’t copied or restated or reworded? Architecture perhaps? Landscape design? The Middle Eastern practice of island building? Innovation is defined as ‘the act of innovating.’ Even a definition is restating the word being defined! One within the other within the other. This brings to mind a fractal. A fractal is defined as a term used by mathematicians to describe certain geometrical structures whose shape appears to be the same regardless of the level of magnification used to view them. A standard example is a seacoast, which looks roughly the same whether viewed from a satellite or an airplane, on foot, or under a magnifying glass. Many natural shapes approximate fractals, and they are widely used to produce images in television and movies.
‘Many natural shapes approximate fractals.’ One that does not is the human figure; (until we introduce reproduction.) Nonetheless, the more magnified the human figure, the more abstract it becomes. Sculptor Jacob Epstein is seen here duplicating on the third dimension. A fractal then must be on the fourth dimension? And the fifth dimension perhaps encompasses exponential reproduction? Nevertheless, the photograph itself offers a precise perspective and we are shown a new, maybe less organic form of depth that could possibly relate to a fractal. In order to magnify or zoom away from we must have a center point. Here, the center point is the piece of artwork being made, the sculpture. (Not the photograph; Which has already been made). The photograph is not the piece of art. Or is it? Zoom towards the photograph and the scultpor dissappears. So does the model. We see then a clay figure in the background and the sculptor’s hand in the foreground and a prop that supports the central clay head. Zoom closer and we discover the center point is where the figure’s trachea and its wooden support are adjacent. Keep zooming and we come eye to eye with the dip in the bust’s throat. Zoom closer and we would see the lumpy texture of the clay. Now imagine zooming out. The model and sculptor come back into view and the studio is revealed. Perhaps other artists are there and likely tools and more scultpures can be seen. Keep zooming and we see the walls of the space, the exterior of the space, the grounds of the building, the landscape, the trees, the horizon comes into view, the sky and the clouds. Keep zooming out and the studio building itself grows smaller and smaller the people inside have already disappeared. Keep zooming and the land becomes more vast. Out out out and out and there are no fractals seen. Are there? There is no visual one within the other within the other matryoshka from this visual journey our mind has just taken… accept for the linear journey the sculptor’s work takes in replicating the subject’s face in clay. So, if no fractrals are seen zooming in and out, can one state that this scene is then unnatural? Or maybe all we had to do to determine this was to look at the facial expressions.
French photographer Philippe Chancel has chivilerously opened his doors for all to see. In a series titled Sex Release, we are shown the face, the body and the interior of what may inspire him. Another photograph reveals she is reading french novel Poteaux D’Angle. A book presumably about an angelic obelisk? As the photograph shows, french literature has provoked her to reveal herself to him and his film and in turn, the world. And we are left with a long and lean beauty first encompassed by her consumptions and then an offering to the eye of the lens. Offering a symbolically tempting green, not a playful heart shaped red, a figuratively child bearing pear, nor a presumably threatening yellow. Yet, Chancel shows us his series in a dyptic. Two squares. Two eyes. And she is seen with one. Or, his eyes capture her eye as one. And what color are they? Her stomach is shown flat and a protective hand rests on either simpley her physique or her gazelle like and symmetrical genes. But nonetheless, we have knowledge now of another novel to promote and entice as a means of possible literary Rohypnol. Keeping reading alive and well, passion afloat, seemingly weightless in the air and Philippe photographing, inspired and inspiring, and in turn, the ego never dies. Merci Philippe and even more so to your presumably agreeable and confident companion. But perhaps even more credit is due to Henri Michaux, French poet, painter and journalist, who’s own affairs helped inspire such a picture story. And to the Orient, where Michaux’s first travels had so inspired him to publish his first book titled a self deprecating A Barbarian in Asia. Michaux’s precursory works are classified as Surrealistic while more recent works completed by Philippe include futuristic installation.
Since its earliest depiction, the figure has remained a mirroring muse. Male or female, from and within one outlet to another, the figure attracts. The figure retracks, and the figure changes, bends, decomposes and in most every ecological society, the human figure must be clothed while on public display. However, choice of alter is only partial key to determining what lies within. Based on some notion of supply and demand, population dictates society’s stock. Of course not just clothes, but material, mass and what lies beyond in general; road signs, posters, magazines and adverts, restaurants and other service facilities. How is this choice dictated? Popular consensus, budget, aestheics, practicality, or even carelessness. Filial relation, human nature and common idioms among many other elements of thought help dictate these choices humans must make on a day to day basis. With what clothe to arm themselves with, which inevidabley will have some impact, based on perception, on the remaining time and experience in the chosen garment. Not just choice, but event and company alters the thought. Carelessness or indirect unawareness are freeless freedoms of nievity and perhaps innocents in terms of altering display. If a people could come to the understanding that this is all based on pomp and circumstance, and means nothing but vanity and meeting parallel cohabitants, one can still be inclined to think egalitarianism could not be achieved. Politics, history, personal experience, memories, trama, documents and media ultimately dictate. And as creatures of choice, we are at the mercy of where the wind takes us and what we see and what we are told and how in turn we are effected and left with the representational Pistoletto’s Pile of Rags; Choice. And here we see choice mirroring gift (the body) which one can perhaps comprehend to be either bipolars or a halfway point; its median. And with that stated, perhaps the full equation of pomp, circumstance, choice, perception, reception, time and place is the secular mean. In due course, the highest frequency of occurances of the same choice then becomes its mode. And then range must be the individual length duration of which this mode can withstand.