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.
This is the soundtrack to the triptych series: http://www-pw.physics.uiowa.edu/cgi-bin/unzip-wav?mcgreevy/abwt001.zip?abwt001.wav
The recording was produced by Stephen P. McGreevy. More of his recordings of natural radio can be found at: http://www-pw.physics.uiowa.edu/mcgreevy/
To view the Triptych series please click Continue…