A dialogue with time
My dialogue is with art history, thinking about how my own sensibility intersects and is influenced by paintings of the past. One of my interests is Vanitas, the idea that the brevity of life should lead us away from materiality to more spiritual concerns. Flowers are a traditional symbol of this because they have the fleeting, magnificent beauty of bloom and then fade and die.
Ars longa, vita brevis.
A Game and A Puzzle…To Start a Conversation – Gregg Harper
Recently I’ve begun to focus more intently on the power of images intertwined with words and concepts. My particular focus is the importance that we ascribe to these as we assess our present against our past and look to other means to guide us into the future in this liquid time. Concepts like “hope”, “will” and “oracle” are at the core of this exploration and The Philosopher’s Game and Elders Puzzle are two of my experiments.
Both pieces attempt to play the dual role of breaking down the perceived barrier between artwork and viewer while engaging in a conversation on the euro/anthro-centric nature of western philosophy (Philosopher’s Game) and the comparison to non-western philosophy and images (Elder’s Puzzle) where humans are generally part of, not separate from, nature. What words, images and artifacts might suggest a way to evaluate each mode of thinking to make it comprehensible to our own reality? And how do we conceive of the human place in all-encompassing life – parallel to nature, of nature, against nature? What are other “philosophical” perspectives on our existence beyond western thinking and image making? How applicable to our daily lives are the concepts that embody the thinking?
The central form of each Board is the “Quaternio”, representing the cardinal directions. Etruscan Augurs used the Quaternio to divide the sky to search for portents delivered by the flight of birds. An archaeologist uses it as the core of a site’s organizing grid system. It is also used as an evaluative graphic by mathematicians, physicists and even psycho-analyst Carl Jung.
The words on each board are attributes that western and various non-western cultures assign to their view of the cardinal directions. The words are the four Greek Elements, four Medieval Humours and Carl Jung’s four Functions in the Philosopher’s Game. In the Elder’s Puzzle the four elements – Earth, Water, Fire and Wind – are shown as well as Native American and Asian human attributes. What do these essential descriptors in both western and non-western philosophy tell us about our consciousness…our perception and interaction with our reality?
Viewers can choose four Curios or Amulets and arrange them on the respective boards. The objects could be signs of ritual, remnants of a cabinet of curiosities, alchemical substances, body ornaments…perhaps the birds that fly across the Etruscan sky. And with the formula of four artifacts hung on hooks on the four corners of the board, there are 17,160 possible “compositions” or “oracles” for each artwork.
The over-arching idea is to spark a conversation within the viewer by direct interaction with the artwork in “analog” form without the use of technology. Like a double use of the metaphor “muscle memory”: to use physical interaction with an artwork to exercise the brain muscle…and, perhaps, the heart/empathy muscle.
C E Morse: Dialogue
My images are abstract details of found objects that beg the questions: “what is it?”
which starts a conversation/dialogue. While grappling with identification one explores the subconscious emotional impact of the images as well as the relevance to previous experience. This dialogue can be between the viewer and the piece or among viewers.
I am always fascinated to hear what other people see in my work and their reaction when I identify the subject that I have photographed …. which then starts a whole new conversation.
RAGNA BRUNO-TORKANOWSKY: “DIALOGUE, A DANCE OF OPPOSITES”
SPONTANEOUS DRAWINGS IN BLACK AND YELLOW OCHRE INK, WHERE
RANDOM THOUGHTS ARE INTERTWINED WITH COUNTERPOINT RHYTHMS IN THE SEARCH FOR A FLUID STRUCTURE.
Strout — Statement/Dialogue
For me, making art is definitely about dialogue. It starts with those conversations in my head, inspired by musicians, writers, and other artists. Inclusivity is an important theme in my life and in my art. The “Song of Woody Guthrie” was inspired by Woody Guthrie’s song “This Land is Your Land,” written in 1940. I am still deeply affected by it, especially in the current political climate.
“Uncloudy Day,” a 1979 gospel song, speaks to me on several levels. I see America as a metaphor—a home “where no storm clouds rise,” depicted here with border crossings and little white crosses. Hopes and dreams, or sacrifice and despair? Let’s talk.
And what about “Together we make Stone Soup?” This is a very old folk tale about a hungry traveler with nothing but a stone in his pocket. When others contributed to the soup, they had a feast. Everyone brought something to the table—again, a metaphor for collaboration and sharing.
And “The Potluck”: who doesn’t love and appreciate a potluck? Finally, I am proud to be part of UMVA, an art organization promoting diversity, inclusivity and dialogue in a positive framework. It is a safe and welcoming place to dialogue about art and issues.