Art as Transformer by Adam Grose is released today on Amazon and available to purchase as a paperback and Kindle. Here is a link to a preview and some images of the new philosophical work by Grose and some images from the forthcoming Art as Transformer Artist Monograph and the link direct to Amazon here.
The multiple images chosen from my many walks in and around Belalcázar, Córdoba, plays on a variety of levels. One initially being in the amount of images we, or rather our mind takes in during our walk, mostly registered unconsciously. These multi-layered images in the mind are negotiated on our behalf by our mind, shifted and sorted into like-minded events and filed away, either to resurface later through some obscure dream or appear as a mark, colour or form in an image an artist creates. Our mind makes sense of the world around us – seeking the pros and cons of a situation, something evolution has given us as part of our survival strategy. After all, it seems our DNA and the passing on of information to the young seems the goal of organic life. Yet during our living spaces our mind continues to negotiate its way through the myriad of information frequencies to seek understanding in what it sees, is seeing, or has seen. Through selecting key points from the journey, working with or against the biases from our own evolutionary status, existing from the discriminations of what we consider the aesthetic representation of our reality, the collation of years in seeing and educating through our individual research, our mind-image displays for us the journey of life which exists within our mind.
It is in the image above (and others I am working on) where I make sense of past events experienced and form new ways of understanding where I was and what I was experiencing each day. Memory is a dynamic set of repeating patterns of rhythm and rhyme, an ongoing flow of information of the present which seeps back to the past, re-informing the present experience which exist only at this moment of remembering.(1) Through selected imagery of the mind and the re-minding myself of objects seen, exploring the active journey taken as I travelled from the South of Spain towards the North. These elements of my experiences living and working in Spain for a period of six months is played out, exploring the role of the line drawn in the landscape, both physically and mentally. The line of the journey evolving from El Greco and Goya towards the Modernist work of Miro, Zobel, Chillida, Picasso and Tåpies.
Through these artists and my discovery of Zen and the art of meditative walks, my journey carving its line across the land is re-translated into the line of vistas, objects and sights taken in through the passing of my body in time and space. Sean Scully remarked he once saw a piece of graffiti as a student which said ‘Time was invented to stop everything happening at once'(2), but like his work explores, in my current drawings and prints I am also ‘squashing out space [and time]'(3) by placing a whole experience into the same time-frame.
These overlaid images I keep to a minimum, through ‘choosing’ enough to form new ways of revealing where one is in space and time, through mishmashes of constant re-interpretations by the mind, filed and classified for a future recall.
Where I place an image on the plate is decided upon through the particular experience I had – a key moment reminding of an event from a second. Even though I restrict the controlling aspect of where I place a particular object, I can not completely eliminate the particular aesthetics in structure of the composition I am drawn towards. This is key to understanding my artistic endeavours. Like a piece of music or poetry I seek a balance between objects and ‘non’ objects, or so-called positive and negative spaces that relate to form and objective space – yet, I am keenly aware that even ‘no-thing’ is something and itself gives form to ‘things’.
The focus is where attention is drawn and for what purpose ‘some-thing’ is given presence over ‘an-other’ thing.
How these mash-ups of images plays reveals, for me, a general sense of entropy. An entropic state of decay in the mind over which and what images to form a composition, through a saturation of ephemera from the thoughts and experiences I lived during time living and working in Målaga, Granada, Belalcåzar at the residency La Fragua, and subsequent journeys through Spain as I headed to the North of the country. However, there is a realisation that this process in creating these forms of poetical images leads to a renewal; the creation of something more profound. Through the poetics of space and line, in this labyrinth of line-work I am negotiating my way through time, and also for the viewer in its viewing – without the thread of Ariadne to guide us, we become the seeker of the signifier.
There is a sense of the overgrown and overabundance, a reclamation of structures by nature.
Previous experiences seen in the erosion of buildings and art seen in Cyprus and Spain has become, in this image, a signifier for the entropic state of reality, a sign of the times we are contributing to, through the re-evaluation and eventual destruction of one ‘self-image’ towards another more educated and informed image of the self. These confused, mashed-up, interwoven, inter-connecting, saturated world of images and information leading to the break down of previous negotiations, leading to changes that evolve beyond the moment.
Could these changes lead to pulling threads towards one which will lead to an opening away from the labyrinth of information and seek a route map away from the Minotaur of unknown appetites (Ego)?
(N.B: This piece will change as more thoughts and information come to light with references)
This lecture by John Phillips has some interesting insights on the development of printmaking and its contribution to the development of mapping, watercolour and the resurgence of British Art from the 1600s, when we had lost our sense of the self after the Protestant Reformation.