An Ulterior Realm
Sun is god
The Book of Hours
Types of Order
Forms of Thought
A New Language
I am in the process of digesting my most recent tutorial with Annette Heyer. She has encouraged me to relax into and open-up my work just as I have my thoughts. My concern with my practice is that in its repetition it is becoming inactive and loosing its energy, which is not a true reflection of my current curiosities. I need to trust my viewer in their ability to unpick my current and future work as according to Annette, the work is referential.
The limestone is of course finite and will eventually become bi-products of its former physicality. I want to organically encourage these bi-produtcs into my work and making a replica of anything is a hard and a very literal process.
Annette and I discussed Eastern aesthetics in comparison to Western aesthetics as we know them. Western aesthetics are often superficial, whereas Japanese aesthetics are calculated, yet organic and raw. They are ordered in a way which attempts to make sense of the world. I intend to introduce rhythmic gestures into my practice, and want to reign in my process driven practice. In my drawings, I want to try and understand/figure out how we/I navigate space in consideration of time and depth. Annette has advised that I consider putting a grounding on the paper before I begin to draw? Much like the ground of the Zen gardens are raked and considered to enhance spatial fluidity, and to allow time to be visible.
This drawing seems to mimic constellations. Constellations exist as a natural abstract yet connected diagram of space and time, which has depth beyond comprehension. I enjoy the way that something grounded is reminiscent and reflective of a universally true existence that is far beyond us.
“Earth is in the sea, sea is in the sky, sky is in infinity and infinity is in mathematics” Michel Casse
Mathematics is an interest of mine that I intend to explore further, potentially this is what exists at the core of my interests? I had never considered mathematics to be relevant to my practice but it evidentially is. I think about things very methodically and entropically. This curiosity seems to be lacking from my work despite its active presence in my mind, these organic thoughts have a pulse which I should maybe inscribe and document. The limestone, due to its universality, maybe an appropriate translator and a physical to create links between time, cultures and everything alike.
Vast, relentless, and beautiful, is how Annette described the work of German artist Hanne Darboven. Her work is inserted inside the structure of time and the artist is considered a trace, often existing in-between. She considers herself to be a writer, which insinuates language, and language is what happens between things.