Intuitively developed art that follows its own internal logic free of other rules.

Tuesday, May 19, 2015

Tree of Knowledge

Grotesque of the Tree of the Knowledge of Good and Evil. Myriad cracks of the stretched clay produced dark where the glaze broke, not veins of leaves. The entwined figure likewise turned dark, glaze separating into scales which looked more like the figure was strangling the tree.

Tree of Knowledge, Tree of Folly. Folly can be entertaining, look at the Ziegfeld Follies. That is the universe and the uncon together, Follies of immensity. Shiploads of folly. Awards of folly. Publications of folly. I want to try to give some account of some sculptures in the round, arrayed to tell this story. The piece called the Tree of Knowledge starts off with consciousness, of telling of a serpent entwined about a tree which is the vessel itself, fluted with variations. The subject of the tree, proven corrupt thus with all knowledge, a tree with this serpent was disgusting to me, that is until I began to seriously examine Brueghel's Fall of the Rebel Angels, which I liked for its blue sky and what I consider full moon rising. Below occur all manner of horrors, hybrids, beasts, and artificilia, every manner of distress and combat, the angels above. Somehow this justified what occurs on the Tree of knowledge, although it is a single panel in this long epic of Eden.

To admit to vacancy this was not intended, but there was the purpose to place human figures in the round as in many other examples, Rapture In Progress for one. To do so runs counter to the fineness of the Chinese and Japanese masters who achieve such heights of understatement. This appalling figure reinforced in the glazing and such as it was the pieces came together to illustrate a snake curled  around the tree. The snake camouflages itself against the bark. Its body completely encircles the tree, an ouroboros item done in heavy applications of carbon trap shino, so the snake scales are highlighted against the very dark clay of its body. Edges of the body are applied in orange shino waxed, to an orange border so the snake seems to have a flame aspect to it. The fluting of the tree occurs in a green lily pad glaze, with also breaks, but a different pattern than the shino, alternated with light celadon over porcelain. The snake as it were has two arms one rising the other falling as it circles the center of the tree, ugly and fearful, its head arched down in a viperous triangle, tongue flickering, poisoning the whole tree of education. All the stars are named for its gods as it calls itself in the classics, meaning the compendium of counterfeit accounts of the universe and the human, all the archetypes and dreams of the archetype fabrics of its making, that Jung's Red Book is itself, with all divination and wisdom the leaf of its fall. That is to say that the heavens are named for the serpent and the unconscious is named for the serpent. So it is really a tree of bondage, all knowledge is bondage. To what. Well ask. To the status quo of mortality, time, rebellion. Oh dear. The days of the week, the months of the year, the constellations of the heaven are all dedicated to it.

This style has its hazards. It wanted to shape fluting with stretched porcelain, a figure stretching around the vase from some notion that it would pick up the pot and walk off, the green contrast against orange shino representing the tree's leaves so to speak. But myriad cracks of the stretched clay produced dark where the glaze broke, not veins of leaves. The entwined figure likewise turned dark, glaze separating into scales which looked more like the figure was strangling the tree. It takes some time to be able to see what is actually there as opposed to what one thought should be there. What this says about the value of education is left to the viewer. What it says of iconography in the corrosion of the dark clay of the figure, borders of red around the "leaves," orange, = maroon cracking, speckling, spalling,  allegorize the knowledge that can cut the fins off every shark to enhance health. Evil is always explained, analyzed, rationalized with pains taken at  Scribd sites, HistoPossum, Opiomes, Building Transhuman Immortals, and etc. We seem to want epic what is banal. The white shino interior of this vase belies the ill prognosis where it has collected on the inward curves of the slopes like snow.

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