Detail of GA Collider, ink, acrylic and collage on paper, 2008I wonder how one makes sense of more-information-than-can-be-perceived/understood. And what does "more-information-than-can-be-perceived/understood" even look like?
The above image is just a part of a much bigger image that wrestles with making sense of too much.
6 comments:
SUPER COLLIDER! super KINETIC!
i was thinking the other day, that the color of mind-space is dark/lightless for me. i felt rather literal for thinking so. somewhat defeated, more-info-than-can-be-perceived/understood is similarly unlit for me.
here were my notes (aimed at a somewhat meticulous series of drawings)--
mind-space is black for me. face a light source and the orange red/blood can't be interpreted as mind-color--it never lasts. instead, when i close my eyes everything is dark, and each thought is felt/sculpted in lightlessness.
when i draw or work with paper, i think i have been, or recognize that i am, beguiled by the whiteness. i fight and struggle to retain it. i don't want to work with any other color or apply a wash. it is a space uncrowded and unfilled--a space of light to organize in. from the dark i remove a shape or idea and place it in whiteness.
the relationships of these thoughts to each other are context. white=blankness=context-less for many. this is a political matter. i am reticent. i like the whiteness of paper. i care for the world and like white. the context of the world is multi-layered and frantically connected. i wish to disturb nothing. i am tired and want to be quiet.
the thing about a theory like 'mind-color' is it hardly remains true forever. its just a note for the moment...
garima, i love your notes as a caption for barb's image. "the space of light to organize in" and multiply and swerve and combust and collide...
on a side note, i recently set up a blog for a group i'm a part of here in mpls, and without deliberation, i selected a black background, which is an interesting, unintentional commentary on the color of mind-space. though i'm not convinced it's a pervasive sentiment. especially because i think i hear more than i see. or-- it's a physical volition, the sense of being compelled towards something, and i wonder, barb, if creating "Collider" was a physical pull you were responding to?
hmmm--i am thinking of a couple things--
first the mind-space--i honestly don't know how I would ascribe it a color or a space even--and somehow that bothers me that i cannot for the time.
and two, the collider notion--there very much is a way in which the visual is so much a response to a physical envisioning--nothing i've really ever experienced I would say. But rather this sort of intense physical colliding of masses and masses of physicality is a kind of analogy almost for a way of being--or a way of experiencing being?
and this is the perpetual problem/challenge/propellant for the work--the fact that I am so committed to using a visual language for what is essentially a physical, multi-dimensional reality--but the visual translation yields the kind of invention I'm after I guess--so THAT is perhaps the key.
visual language--spoken language--thinking language--moving through 3-D space language
in my experience of life, the psychological/thinking space/being vies for the most of my time; it has more potential to shock than my physical reality--or at least that is what i am capable of acknowledging to myself presently. but i think i miss a piece of the puzzle when i separate the psychological from the physical... because i keep coming back to insist, "what is the physical mind-space?" try as i want i am not able to think in my toes, or my back, or outside the apartment when i am inside. the literal mind-space is then located behind the nose, mouth, and between the ears. but mostly behind the eyes... oh how we rely on our eyes for a way of thinking or experiencing being! and that is the literal (the brain, the brain) solution i come up with when i want to assign a physical space to psychology. (no wonder mind-space is light-less when i close my eyes.)
how interesting that you absorb more of what you hear than you see, elisabeth. we are talking different medias of art when we talk about the different senses.
translating the dynamic multi-dimensional experience of life into visuals, sound, or any other completely different family of experience would definitely be lots of problem solving and invention. that does sound like a key--a New Language that Translates Over the Dimensions (NeLTOD)--how exciting barbara!
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