From the gallery of Andre Durand: http://andredurand-gallery2000.com/paintings/saint_christopher_cynocephalus
Archive for August, 2011
Sometimes the real deal is just in plain sight.
I picked up this video from the latest entry in series of posts that Dedriodify is doing on angels. Go check it out: http://dedroidify.blogspot.com/2011/08/archangels-auriel-uriel.html
Jason Louv recently made a post to his blog that I found compelling.
Single best line:
6. The desertification of imagination is a problem just as real on its own plane as deforestation is on the physical one. The fragmentation and destabilization of concentration keeps human consciousness crippled. Though it may be deliberate, this is a mistake.
Go check it out.
This is a key to how I choose to create my triptych series and how I read it. Art is always an individual experience. My feelings, intentions and thoughts should not limit anyone else’s.
My impetus to create the triptych series is to crystallize the internal feelings that I have about the future/past. I use that ambiguous term to describe the flow of time from this point because I feel that modernity is flickering out. The future as we think of it is a creation of modernity, a vision of endless progress and invention, free of particular cultural character, spirituality and mystery. The future/past is a cyclical flow between states of being. Wilderness and empire, spirituality and materialism. These alternating states that flow unevenly throughout space and time better represent reality as I feel it is becoming.
In the future/past bronze sword and spear points live alongside decaying missiles and deadly autonomous drones, because each is sensible within the flow of it’s own time/space which ebbs across the surface of this Earth. The membrane between the known and the unknown is as thin as the veil of sleep or the blink of an eye. Other beings live here. They are familiar and disturbing, like something dreamed and half remembered.
My future/past is an empty place. Every person is of singular significance. There are still cities that crawl with the human mass, but I do not abide them. Was there a great death, or did so many take flight to another world. I do not know. This time is like a dream. Maybe both. Maybe neither.
The defining characteristics for the cells (individual pictures) of the triptych series are emptiness and reality. Each cell is defined by space, architecture, landscape or light. Symbols of familiarity are absent, while the reality remains our own. Each cell is a photograph of an object that exists in this physical reality or is generated from data about physical objects. A large part of the capacity of the human brain is devoted to distinguishing between reality and illusion. When a person looks at the triptych series they feel that it is real because it is real, just re-oriented.
The order of cells within each triptych is designed to tell a story in time, space or perspective. All triptychs in the series are designed to be “read” from top to bottom. Some depict a series of events or states, others depict the levels of physical structures or space, often from surface to subterranean or space to Earth.
If you just open the door sometimes you catch a breeze.
One of my personal opinions based on my own experiences is that the majority of the full human potential exists in regions or fragments that only partially overlap. Modern society and the set of skills and frames of perception that are necessary to interact with it define a very narrow spectrum of these regions. Through habituation our consciousnesses learn to identify with a limited set of regions that becomes “I,” the ego in the social context. What we identify with as “our” thoughts are usually merely the mental energies internal to this small region. Throughout time and social habituation these thoughts and mental energies can become more disjunct from the greater identity and being, or they may become more integrated through actions and choices like meditation and exploration of the inner and outer self.
It is my opinion that when we make a choice, and we make it real, it can open us to potential that we didn’t necessarily know existed. I emphasize “make it real,” because the extent to which you enter a reality or a situation where it is possible is the extent which you might find a part of yourself that you didn’t know existed. An example of this based on the video with Welles. I could not do what he described for several very definite reasons, the first among them being that I have an overriding knowledge of my place and purpose in this life. That knowledge comes from outside of my own ego. I am a shaman, I see into people and I help them, but I don’t tell the future and I could never lose myself in trying. The bedrock reality of what I am prevents me from pretending to be anything else in a superficial way.