Archway_of_Expressions_Drawing

Subjective Assemblage

 

Brief Explanation

 

The course of exploration in the expression of the figure has led to a style and series of drawings I have named Subjective Assemblage. Within my own perspective of art output, it is a tentative terminal progression of figurative expression and exploration thus far.

 

Within this series, function does not mandate the individual forms that define the composition of figure. Function is not the objective of form. The constituents of form are subjective. It is not a decomposition of figure expressed in a geometric manner, but rather, an expression by union of disparate near-organic structures. These structures combine to create specific, and at times nonspecific, organic muscularity that creates the figure. Non-specific organic forms coalesce into masses of muscularity that shift into figurative forms.

 

There is no delineation of form due to morphological purpose, and individuality is not always assumed amongst separate groupings of muscularity. There may be no separation from mechanical object and organic form. Although, the emphasis is usually on the figure.There may be a distinction between human figure and bestial expression of figure. It is also possible the animal form is present alongside or concurrently with the human form. Within some works, the division of form between one entity or sets of entities may be unclear.

 

 

Detailed Explanation

 

Art can be a mirror to reflect thoughts of its time. One can argue that an interpretation of the form in this manner is an apt expression of the human condition in our age. In our own world, the necessity of sanctity of form as expressed classically, and afterwards, may have corroded away. In many cases, the consideration of the figurative form as ultimate expression of beauty and purpose because of divine proximity or foundation is replaced with explanations of form because of non-impressive and unimportant processes no different than any other animal or form of life.

 

To the Greeks, Romans, and ancient Egyptians, the gods themselves were very similar in appearance to humans. Zeus, Neptune, Osiris, and the rest look very human-like, ancient people did not portray these deities as squids or piles of leaves. In Judeo-Christian ideology, the figurative form is the closest form among the natural world to the divine. To paraphrase, God created man in his image. These ideas about higher powers must mean that on some level the people of those times must have thought of some importance or value to the human form or image. In our modern world view, that one could feel approaches nihilism, the human figure is just a potential destination of tentative form due to response to surrounding conditions and a result of genetic, biological, and inorganic factors.

 

The drawings show the forms in a vacuum, for the most part, to emphasize the loss of distinction between the natural world and human world, and to emphasize the concept of all matter being an expression of the same material at the most fundamental levels. Our view of separation of the organic and natural is only an illusion due to our senses. With our modern instrumentation, we have verified on a deep level that reality we perceive is all variations of the same or similar things. There should be need reason to display the human or animal form distant from or superior to each other or the natural world.

 

Are our experts like the priests of ancient times? Are they less confident and assured, than priests of thousands of years ago, when they explain the nature of reality to us? Are they any less committed or devoted to finding and communicating reasons to believe than the ancients were? It may sound absurd, but the people of the old beliefs would have been just as reassured as we are today, that they could not be wrong. But today, our stories are much different than in the old days. Instead of telling us there are spirits in every rock and tree, or powerful and emotional spiritual entities, they tell us about micro-organisms and quantum reality.

 

This loss of superiority of humanity within the natural world has, in one viewpoint, returned to a new variation of animism. No invisible soul within a plant or animal but an invisible (to the naked eye) world on a small scale that controls birth, live, and death. Instead of spirits occupying everything or a supernatural force imparting lifeforces upon all objects, we have genes, microorganisms, and sub-atomic particles that occupy and dictate all living forces. The worlds of the small and invisible control all of nature, even inanimate areas like rivers and volcanos.

 

The old beliefs imply the importance and pureness of the human form above all other biological expressions of form. But our current deepest explanations of reality have no divine inspiration and superiority of human form. Complicated mathematics, logic, and observations from science repeat the essence of what Democritus said two thousand or so years ago, “Atoms and the void.” No Atlas holding the world on his shoulders, no stacks of turtles, but only random arrangements of meaningless substances which are a house of cards upon which our reality is resting. No superiority of humanity over natural or animal form but a confirmation of all three being the same.

 

There may be a reversal of the previous importance of humanity since the confirmation of total contingency, or lack of difference, of human form to microscopic and subatomic forces. As expressed within the figures of the drawings the substance of our bodies and world are masses of unimportant and disparate, yet unified, substances temporarily aligning to create layers of forms that are our illusion of reality. These forms appear permanent and omnipresently substantial to us but in wider truth are only infinitesimally brief and insubstantial expressions of imperceptible quantities and forces.

 

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