Skippy (my dog) at rest

Our eyes trick us and our feel tricks us
when we look at an object
our senses..
sight; touch
convince us of a shape
but they cannot factor in the
energetic; atomic nature
of the macro object
in front of us

This drawing of Skippy
at rest on my couch –
attempts to describe the objects drawn –
without boundary –
and as atomic concentrations that interact
with the atomic ‘ether’ surrounding them
each.. in turn.. having an effect
on the other..

Even this.. Skippy can sleep through
140910skippyatrest

evolution of ducks

Evolution as we study it is valid I am sure.. I am trying to expand our vision of it by taking into account the players that participate on the unseen level

140905evolution of the duck

… with evolution.. one thing leads to another in a subtle chain of invisible connection… with all these players… vying for attention collaborating with chance.. on the elegant precipice of uncertainty… where they love to play.. to yield.. yes sometimes.. a duck

140905evolution of the duck - DETAIL

Squared off spiral

Patterns and there properties have to point to a fundamental component of an aspect of the underlying architecture that holds us all together.. i.e an expression of the way that seemingly disparate things are held together..

An aspect of the beauty of spiral forms comes from the fact that it can be seen in both shells and galaxies… structures that occupy vastly different scales… This property that our ancestors saw at the dawn of time in sea shells.. and then only became evident in the stars millennia later… this stellar property needed to be seen from  a very specific point of view.. to realize its pattern… what other patterns are awaiting revelation as a function of how we see and assemble things

 

What extrapolations

 

derivations

 

Can be made off the back of spirals to reveal

 

Another deeper pattern

 

Linking the shellfish to the stars

 

When does the science

 

Enter the mystic

 

140722squaredoffspirallorez

Uncertainty and all its minions (comment on my painting: Imperial Hotel Mt. Victoria)

While painting on the street.. I am just painting.. putting paint down on the canvas.. like a recent cold morning on the highest part of the blue mountains.. Mount Victoria.. I was painting the Imperial hotel at 6am.. afterwards I looked at the painting and I could see all the things that are on my mind about how we live and who we might be.. and all the things I think about that give this world its energy and make it unbounded.. I think about the things that excite me.. ideas about resolution and its counterpart… incompleteness.. I think about the fact that we love things to get resolved but resolution is an impossibility a constantly yearned after place – eden… yearning is itself.. a creative force.. as things ride that ever diminishing asymptotic wave to completeness.. but we never get to that place.. death is the closest we can come..

I also see in my painting the struggle between order and chaos.. we like order… it is safe for us.. chaos suggests death.. life is the fine balancing act between order – indifferent death.. and chaos – wild death on the other side.. it is interesting that life exists on a narrow plane between the these two forms of death… this plays out in the painting where things are vacillating between holding onto a form / structure.. or giving into an unresolved sense of form.. but not holding on to that idea too tightly.. not giving in to the safety of death…

in the painting.. as in life the other great force is a synthetic force.. and this is pitted against an entropic destructive force… both are necessary for the painting… things are never created cleanly there is always destruction in the midst of creation you see this in cellular systems.. for structures to emerge in complex organisms cells need to die – usually in a controlled way to yield a functional form..

The phenomenon that governs these forces is Uncertainty.. no structures are certain… the edges of things don’t exist in any real way.. Cezanne seemed to discover that in his paintings.. when you get up close to one.. you get a sense that all the colours or possibilities are somehow contained in the finite space held by the form.. we are fooled into a sense of certainty by the way our brains interpret the data presented to them by our senses… in this case the eye… but in truth things are not as they seem and when I feel a painting has worked it is usually because it has given me some insight into the possibilities about how things really are or might be.. and I find that exhilarating..

Image

Treatise on Lined paper and Thomas Moore and something I once heard on the radio about aboriginal culture

Image

Western culture sees art as some

separate thing from life..

i.e. we separate ourselves

into the seclusion of the

studio or the garret if you

are a poet and you make

art ABOUT life

but art tries to BE  life with

my Lined paper

as I move through the

world with its shopping

lists I want art to fall

onto that page as I

move

the lined paper is

what I move around

with

it does not demand a

separation from the

now

it is the now

I don’t have to do studies

on it then move to the

unlined paper; to the

studio

the art is the life is the

lined paper

I heard on the radio once

that aboriginal culture

could not quite understand

why we separate music

from life

people play music while

moving about their life

‘they do not formally

Learn a  musical instrument

and Thomas Moore said:

“about spirituality, art

and the everyday sacred…

in Care of the Soul

‘… and thus in a small but significant way can make the everyday sacred.  This kind of spirituality, so ordinary and close to home, is especially nourishing to the soul.  Without this lowly incorporation of the sacred into life, religion can become so far removed from the human situation as to be irrelevant. “

© Copyright Sid Sledge Artist