billyfivecrows

Totally! Heidi Klum's show... aspiring fashion designers compete to win a bunch of money to start their own line... it's great... i love it, but I'm righteously pissed about the outcome of this season!!!

I love the wall pieces. They're absolutely my taste in art! I'd say permanent allusions to the elusiveness of disintegration. We dismember the earth to create a home: our physical lives are impermanent; "fear" and "denial" are internalised and extended into structure. Structures. A surrogate immortality. Also, a safe-shell within which to project and protect softness. The fact that thet're wall-flattened makes no difference. It becomes brain-space, Mindspace. An emblem of armor more than a true armor: the tarnish and peel shows an acceptance of ephemeral condition that's maybe not wholly conscious. Can it be completely un-conscious? All dissolves. It's obvious.

To say, also, a fear of denial.

Fear of denial may be "meaning". Acceptance of the fear of denial may be "spirit".

What reaching, then, in our desperation.

A new world that reflects the old? And how? Internal that scrambles and reconfigures the external? External that reflects inner complacency, confusion, contentment?

Do the "how" and the "why" merge?

Fishermen on the Columbian coast came up with a new word: "Sentipensante" or "feeling-thinking" to describe a language of truth.

Herbert Kohl took it a bit further:

"The imagination is sentipensante in an extended way. It does not speak the truth, but allows one to play with possible truths, to transcend everyday reality. As we begin to merge thought and feeling, we begin to define values. Thought and feeling merged in imaginative play or reverie can at times suspend the laws of logic and reason, and we begin to dream new worlds. Both thought and feeling are elements that can be played with within the realm of the imagination, and at the same time used to weigh and balance the values that emerge from these imaginative worlds."

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The floor piece has definite possibility. Bigger?
Better? More? Clearer concept? I think the answers will present themselves the more you work.

Process CAN be about process. Artists like Arman took evidence of the obvious at face value, and asked us to face it. Here, meaning becomes intensely personal, relative, or becomes so common as to transcend the mundane. Almost pre-archeological... a madness to rediscover the contemporary in its time, of its time. And we're doing the digging! Not a bad occupation to consider.

Mario Merz used stacks of paper in a different way, peppering them with numbers from the Fibonacci sequence, which can be used to illustrate biological growth and progresssion, every progression is indebted to that which procedes it. Coupled with the mummified assumption of ontological social/cultural purpose, the newspaper, it makes quite a statement.




So, it's been done in many ways. Does historical hindsight show that we can only progress as artists within personal variation, or by a more adamant anonymity?

Anything worth having is worth working for, no matter how you look at it.

Antoni Tapies became imprinted with postwar debris and destruction, graffiti and symbol.




Alberto Burri, much the same.





I'm glad to see there's still much contemporary work being done in these areas.

I know I'm one of the artists still digging!

Thanks for sharing and offering the prompt to respond.

Good luck wit the show!

-bfc


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