Pushing the Continuum

11.20.13

Paul King - In The Glare of Vanquished Time, 2013

Paul King - In The Glare of Vanquished Time, 2013

The "Perceptual Painter" gives much weight to the notion that our age is becoming desensitized, that we lack an attunment of the senses and that there is a necessary training towards this end with its interpretation through paint, that in fact, this should utimately be the source from which the highest art is derived. He believes this is 'mans art', and over there is 'Gods art'. But that separation, any separation, is an illusion. We are not 'in here' painting what is 'out there'! We are not 'creating', we are the expression of creation. Striving for 'fidelity' is, in my opinion, a dead end. If the perceptual painter sees herself as devotional to an empirical reality that she faithfully endeavors to 'capture', it is like painting a self portrait again and again, with out being aware that it is a self portrait. Sensory input is as mailable as clay and is influenced in as many ways as can be conceived. It has no standardization, no empirical quality. All expression is interpretation, but of what!? Creation takes place only in the context of unity, whether there is awareness of this or not. It my opinion, mimicry 'dishonors' nature, for the act itself counters what is inherent in it, that of unique creation. I'm probably being too emphatic here, because any act, is in effect, natures expression. But to limit the process as best being done by trying to be 'faithful' to what is coming into ones senses unnecessarily constrains the process of making art.  Defining perception, is a self created limitation. Again, what is 'seen' and 'felt' are as ephemeral as the wind. As soon as mark is put on surface, there is a locking, a codification and a unique system is built that you must proceed from with conviction, but this is not dictated to by an empirical status outside of oneself mechanically perceived without influence. It is a subjective experience to be capitalized on and expanded to the point from which time leaves. It is in this space, that 'representation' erodes and "correctness' has no place. The highest representational art exists beyond limitations of the senses and enters a poetical dialectic that becomes metaphor. If one exclusively ties their concerns to an idealization of surface, they are missing the underlying rhythms that bloom a broader reach. Art is a form of communication. Some receive, others do not. There is no high or low, right or wrong, there is only effective or not. Effective evokes and provokes, effective teases and teaches, effective lies beyond transcription and transcends. It takes time to perfect a language that uniquely skirts the edge of what is known and unknown. It is in this terrain that effective art is made, for as viewers we are always drawn towards essential levels beyond perception. To push the continuum, makers must be diligent in breaking free from the seductive constraints of patterned self thought towards an expression of what we are in transcendence, beyond 'educated' norms, beyond 'transient taste', beyond self conscious 'skill'. Here, communion takes place at the deepest levels.    

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