I am starting the last part of this course, and my task is to "Begin to work towards a resolved piece or pieces. ... perhaps think of work as concluded, resolved or paused." During the second part, I discovered synaesthesia, and my whole focus was on this phenomenon. At the end of September, I was invited to participate in the museum festival "Shereshevsky Week" as a synaesthete artist. http://viemusei.ru/afisha/ii-muzejnyj-festival-nedelya-shereshevskogo/
For several days, I listened to a course of lectures from Anton Sidorov-Dorso, founder of the International Association of Synaesthetes, Artists and Scientists, Doctor of Philology Sean Andrew Day (USA), Doctor of Psychology Jamie Ward (UK). And I had the opportunity to ask my questions about this phenomenon. One of them was addressed to Jamie Ward about what an artist-synaesthete can give to science? And he replied that the new visual incarnations are inspired by synaesthesia. Parallel to this, in my critical review, I focused on understanding this physical condition and deeply analyzing artists, who are endowed with synaesthesia, and its reflection on arts.
As a result, I came to the conclusion that the phenomenon can be of assistance in the work, but today the artist must view his profession in a broader sense. Analyze the latest trends in science and technology, look for new ways of presentation in the context of a new time. Rethink skills and material. To create a new language for communication about eternal values and everlasting conditions of being alive.
For me, these are questions of the very activity of man on creation, the materiality of our spirit and thoughts, as well as the daily enjoyment of the smallest aspects of our life. With this in mind, I try to find explanations and proofs through colour and material. But at the same time, I noticed that each work considers one aspect and not every time the creation of the work is generally predictable.
Preparing the last works for evaluation, I thought what could be the final piece or pieces? It seems to me that the manifestation of synesthesia is decisive for my Parallel Project. In other words, the relationship between emotions and sensations from the world around me and my colour reactions.
Inspired by this idea, I even wrote a small post:
I believed, but there was no confirmation that our thoughts are material till I learned about this strange colour thing - synaesthesia.
As simple as that, I felt freshness in the forest. My drain “– hey! It is kind of blue.” A week later a blue art object appeared.
I felt really happy one day. You do also sometimes? And it was a vibrant pink. Then I made it.
In other words, it's always a sequence: thought/emotion -> colour -> embodiment.
If we exclude the colour from this chain (because not everyone needs to be crazy with colours), we get:
thought -> embodiment.
Each of us is a bit of an artist. If we do not make a physical object as a response to the energy of our thought, then the subconscious mind creates it for us.
And here we are - what you think, you become.
Thus, I realized that any manifestation of my thoughts is material because initially, I made art as a reaction to thoughts.
Another question is how the material or my way of working reflects or confirms this? Probably the answer is the process itself, not a finished art object.
Another place
I was under general anaesthesia last week, but it looks like my mind was active.
So, whether during this sleep or at the moment of awakening, I saw a golden field and the sky. The sky, as Bolkonsky described - “Yes! Everything is empty, everything is deception, except for this endless sky.” («Да! Все пустое, все обман, кроме этого бесконечного неба»).
But I was somewhere in between. It was another place. As if in the space that separates the two entities. It is like a luminous white that exists everywhere.
In this work, this third space is represented through the general white colour extended to the yellow and blue surfaces. So I took myself as a separate entity and turned it out, so to say spread it on over the context. Here the very structure of work begins to manifest itself. Without pressing the paper, this one more colour dimension would not have been possible.
I have been looking for such a solution for a long time.
In this image, the ball appears to be behind the surface. The figurative painting in its essence is an imitation of the three-dimensional real world, but here it turns out that the picture has another real surface. Two surfaces. Imitation in imitation. It looks like a screen under glass. Something is happening there, but it is not on the surface.
Such an embodiment is an interesting find that can be developed further.
I experimented with the colour itself.
I noticed that one colour field is starting to repeat itself. Although for me it is always a different colour, nonetheless.
So I tried adding narrative and storytelling. And indeed the colour began to tell something. Create additional images that can be profitably used to convey ideas.
Unfortunately, later the wooden structure of this work was greatly skewed and I could not straighten it. The work had to be destroyed and it was painful and instructive.
During the creation process, I noticed a few exciting moments that can also be developed further.
This is the moment when part of the canvas is left open. There is a play between the structure of the paper and the flat surface. In one of the works, I
left parts of the canvas open, but it seemed to me that colour still plays the main role, although these openings complement the composition. Can be combined on one surface and oil painting or pencil drawing and paper.
This is consistent with my projection tests.
In this experiment, I wanted to juxtapose the physical and the digital. On the one hand, such a solution looks quite simple from the point of view of implementation. But on the other hand, a projection on a blank canvas is a created volumetric work that has received a different representation.
Here, in contrast, both the reproduction of what was done and the three-dimensionality are compared with the plane, the constancy of the physical and the temporality of the projection. For the exposition, I will remove the easel and hang the projection canvas so that no extraneous elements are visible. Thus, if the projector is of high quality, it will not be clear how the art piece is done and both works visually will be perceived as one.
Or in this case, instead of an iPad, I need a bigger flat screen that is in line with the oil painting and the paper painting.
It turns out that during this course I found the topic of multisensory perception and tried to find a suitable embodiment for it in the material and type of work, which can be continued to improve forever)
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