Week-23-Contextual Research

With my pop up exhibition behind me. I have to think about the next one. I am very happy to haven had an abstract exhibition, and finally cross that fence that has been a barrier in my work for decades. I feel that my exhibition  has opened new roads, to new projects, it has freed me up in a way and set me on a new course: The open road. A new journey begins.

I am a great advocate of Kurt Gödel * who proved mathematically that 2+2≠4, it has a tendency towards 4,  and therefore not absolute. Between the tendency and the absolute, infinite variations exist (right that the very approach of 4)

This information can be applied to almost everything in life where one expects an absolute. I thought that abstraction is the absolute, but as a result of the MA and my FMP, I have finally come to the realization that abstraction is not and absolute but a tendency.  I have therefore changed my final image title from “The Dream” (absolute) to “Approaching the Dream” (a tendancy) in honor of Gödel.

My dream to exploiting abstraction as a means to communicate ideas and beauty at will, was aided by work of the mathematician Kurt Gödel.  Gödel, in with his Incompleteness Theorem (Plato.stanford.edu, 2019) showed that the absolute and closure is not possible; there are only tendencies. Therefore, if I presented my theory on the actual cause of (Fig.11) Encountering the Muse as an absolute or closed system, I could not prove it. However, there is enough information and reference to speculate its tendency to be ‘possible.’ The truth that perception and vision are largely dependent upon past experiences, has been recognized for centuries.” (Huxley, p.104) 

As a result of Gödel (and other information) my living for closure [in life and art] began to cessate, and hereby decided to explore incompleteness  and tendency in my own work. My “artists equation” on ideas as an approach or tendency towards beauty in abstraction hypothesizes:  [i+ i + c+(p+t)(e)±o] + m + x + ∆+ i ±ßƒ    a  that an idea can be asymptotically equal to abstraction  () by the addition or subtraction of representational/objective information (±o) to an existing image ( i ) at will. The  constructed abstraction (a) can be edged towards or away from feeling (ƒ) and beauty (ß) by this means.  If hypothetically, an idea ( i ) occurs  to remove the shadow and line(-o) on the sand dune, this change (∆) to what already exists as an accidental simulacrum of the muses breast and arm,  the womanhood and beauty of that image would disappear completely. (ß=0) and instead of being the muse, or the form of a woman, the image would approach another ordinary meaningless abstract image without feeling (ƒ=0) and without beauty (ß=0).  

Realizing the value of the line, and increasing the contrast of the surround and of the shadow on her breast (+o) plus experimentation (e) with changing (∆) the orientation of the horizontal sand dune to the vertical, and adding a mystery element (+m) the tendency of the viewer to perceive the image as an abstract with a beautiful female form, is in the high percentile. (For example Fig.11; Chemaly©) And, this is achieved with a completely constructed image. The unknown factor (x) (the barrier, the fence) has been identified and dissolved by this time: The dissolution is, realization that: An image need neither be abstract or objective, rather a combination where either/or multible images can be quantitatively increased, decreased, changed, experimented with to accomplish and abstract image with feeling and beauty portrayed. Application of formula  [i+ i + c+(p+t)(e)±o] + m + x + ∆+ i    a ߃  can be applied to any photograph.     

 

 

 

 

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Looking at the possibility of working on a documentary on the homeless of Los Angeles after the MA. I will be revisiting the work of Richard Avadon. I really like the way he photographed the people’s portraits.  The homeless situation has been documented to death, but I feel there is always a new angle to approach the situation. I will be approaching Sarah Levy to see what the opportunities are to do a photo series.  I would love to do the series in black and white either on 6×6 with my Hasselblad. The square format is very representative of the box, and once again, these homeless individuals are in a box that they need to get out of or be rescued from.

 

 

 

 

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