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

Tuesday, May 10, 2016


These represent the last in a summer series so far of what must only be called EMOTICONS in order to confront the mindlessness of those tongue tied idiots who use them, configured as they are to Disnify everything about their relationships. And if these images don't seem recognizable to you that's because they are the real misshapen, twisted faces that the  initiate elites have produced for consumption in the commoner terrorist media. One could be called Khizar Khan. Most of these Emoticons are two faced, even three faced, in order to show the duplicity and hypocrisy of their users. it won't be glazed for some weeks though. Its back story, illustrative of the make or break, demo and rebuild philosophy controlling our time is ceramic puppet.


Rid'em Dinosaur
The face is signification, and signification without context...meaning all by itself.

You are you. In this sense one can say that the face is not "seen." It is what CANNOT BECOME A CONTENT, WHICH YOUR THOUGHT WOULD EMBRACE; it is uncontainable, it leads you beyond.

Their unvarying intensity of facial expression, impossible for living actors, keeps the imagination of the spectators continuously stimulated. When one of them is speaking or tumbling and the rest left aside, these, though in full view, are invisible, as they should be. Living actors have to learn that they too must be invisible while the protagonists are conversing, and therefore must not move a muscle nor change their expression, instead of, as beginners mostly do, playing to them and robbing them of the audience's undivided attention.

Puppets have also a fascination of their own, because there is nothing wonderful in a living actor moving and speaking, but that wooden headed dolls should do so is a marvel that never palls.
And they can survive treatment that would kill live actors. When I first saw them in my boyhood nothing delighted me more than when all the puppets went up in a balloon and presently dropped from the skies with an appalling crash on the floor. GB Shaw. Complete Plays: With Prefaces - Vol. 5

It is in this that the signification of the face makes it escape from being, as a correlate of a knowing. Vision, to the contrary, is a search for adequation; it is what par excellence absorbs being. (Levinias in Ethics and Infinity: Conversations with Phillippe Nemo)
But the relation to the face is STRAIGHTAWAY ETHICAL. The face is what one cannot kill, or at least it is that whose meaning consists in saying: "though shalt not kill."
Murder, it is true, is a banal fact: one can kill the Other; the ethical exigency is not an ontological necessity. The prohibition against killing does not render murder impossible, even if the authority of the prohibition is maintained in the bad conscience about the accomplished evil - the malignancy of evil. It also appears in the Scriptures, to which the humanity of man is exposed inasmuch as it is engaged in the world. But to speak truly, the appearance of being of these ethical peculiarities - the humanity of man - is a rupture of being. It is significant, even if being resumes and recovers itself.
A nephew says some of these are monstrous. They however are not meant to express the artist's intent or person. They reflect the world. The world does not like to look at itself as is hence we can color this image with verbal association. Does anybody like calling it Hillary? Or how about Hillary at the Philadelphia Dolphin Convention coming up in July. Or it you like something sooner, how about Brexit EU? I hate it when art reflects the world and we have to thing about it.
After all this I must accept them after i have forgiven them for what they are, because there were previous stages in the making, as the past in an individual life, the amorphous forethought, the making of the clay, its lamination, the molding into form on the wheel, the separate parts waiting assembly, the stretching of the clay, the assembly and its bracing, the bending, molding breaking, the covering and hoping it won't fall, the finishing of the head, adjustments, the signing, the flattening the base so it will stand: all this precedes the bisquing and glazing when whites blend and intensities fade. Then the final firing and it cannot look like what it did before. That I may accept them after I have forgiven them for what they are.

"The last piece of summer fell, but not off the table. It landed on its side improving the whole nicely after it was retrieved. The inner stakes helped. The plastic around it helped. That BMix paper is brittle. Had to remove the top story. Then it toppled to the floor. Which has not happened exactly before. So the whole 30 lbs was reconstituted, wedged, rolled, thrown into the present state of this clay."

With Tomatoes or Without? Comments
Ae Reiff's photo.Ae Reiff's photo.-The tomatoes really activate your surface, but the form feels more focused without them. Depends on what your trying to highlight :) beautiful piece !
-Ae Reiff I was trying to get beyond sculpture and into the kitchen! Tomatoes added.
-I'd say no. May take away from the idea of the vessel. Flowers maybe?
- I think you need to rethink the vessel! 
-Non-traditional, but I love it with the tomatoes!
-I think, without. The size is more mysterious (:
- Less light on top, bounce more (softly) onto the center. Maybe slightly less confrontational, diagonal placement to emphasize the friendly kitchen idea. Very content heavy. Instantly engaging.-
- Really? How about a plant or flowers?
-Red of tomatoes competes and pulls focus to the top edge of the piece. Top of backdrop could stand to be a deeper gray (not black!). then the lighter midsection and darker back ground would emphasize the negative space. The size should always be noted with the piece, so scale is the magicians trick, don't show the trap door ;))
Ae Reiff 12x10x8
-Beautiful piece. That midsection is so full of activated negative space, tension and texture...
Ae Reiff Many thanks.
- Like a cactus in bloom, just as dangerous for the wash up.

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