SOCIAL LIQUID 2
SOCIAL LIQUIDS
Approach:
As a kid, I was greatly inspired by scientific discipline, scientific experiments, it was like a magic to me. It holds heavy influence on me in my life; I desired to become a scientist, only I didn’t understand those formulas in my school academics. So, I did the next best thing. I followed the process of art, throughout my life is the scientific research way. In the scientific process, it is time taking and beyond common sense. So, my science is rather ‘easy science’, no need more time to invent new things and mostly dealing with common sense. Perhaps I like the result more than the process of science in my childhood days. Art might be entered here. Art might be taken over the first stage of my process science as magic. In addition, I know the common properties than scientific properties. I take a metaphor of the investigative science (practical or theoretical, fictional), and with this applying to non- scientific property. The aim of here, consciously produced properties of the substance, to blend it with some other conscious produced substance physically and it happens to few other substances; I get to collapse their properties into equal properties, as an investigate the science of chemistry. Through this, explore the new properties of substances. It encapsulates multiple aspects from limitless the conscious culture.
With life experiences, I came to know, my nature somewhat spiritual is respecting everything. Here everything I want to spread with spirituality. Meaning, my art rises through my nature point of view, but again, my nature, intended to define it through every perspective (or styles). Since my childhood days without knowing the concept of beauty (genres), I enjoyed it with subconsciously. I knew only my mother tongue, here. So, in school and college (BFA), when I saw visuals in the art history books, only images communicated (understood my way only) with me. The text was in another language. Thus, my art history is only visual based; there is no style or concept. Every visual was equal to me. Lately, I realised there were concepts, styles, and philosophies behind every artwork. I try to add my knowledge to my early exquisite conscious. Therefore, I blend conceptually all perspectives into a single and main perspective and that is the definition of my spirituality. I do not limit my spirituality to existing conscious perspectives, maybe also collect from the wholeness of consciousness. For this, I take my work process into beyond the time and space, blending with conscious culture. In my work, not only mind involved but my body. This is not just for the mind of the viewer and his body too. Therefore, it is for the wholeness of consciousness and substance. Even I respect viewers their own wholeness of interpretations.
Conscious can neither be created nor destroyed.
Suppose, if we fill this universe and traverse from one Big Bang to another, and so what do we discover? How many times does the Big Bang repeat, a hundred times, a thousand times? Or one million or billion or one million million million times? Imagine how many times was this conscious (Life) born? One thousand or a thousand -thousand times, I do not know.
So, I am trying to explore this interesting ‘repeated conscious’, consciously. I firmly believe that if the substance of the Big Bang is repeated and continues to exist, then the ‘repeated conscious’ memories that it carries should also be co-existing. The memories do not stagnate but are kinetic in the form of waves (or in any other form) in this space (just as Einstein’s gravitational waves). There is a possibility of the brain to capture these waves like an antenna.
It is my conviction that the time and space have ‘repeated conscious’ includes customs, art & culture, social issues, life behaviours, philosophies, objects, life, death and so on. In turn, it means that we have repeated Einstein’s, Van Gogh’s and Picasso’s, more common men with different names, different features, different incidents, but their ideas more or less being similar.
My brain is experienced by this ‘memories’ postulate. Perhaps I collect perspectives for my work from ‘repeated conscious’, those are already here, I don’t know. It is a closed book, an ‘Enigma’. What we do ideas of art now in this time, maybe every idea was there in oldest Big Bang. If possible, my work is new from every Big Bang I send my version of artistic creation and knowingly of ‘repeated conscious’ as a memory to next Big Bang.
What I am, what my nature belonging everywhere and every time, I perceive it probably from the present, the past Big Bangs and I release to the future Big Bangs. I desire my work stand not alone for the conscious time of contemporary artistry and I append to the completely conscious time.
Analysis:
So, Forms of substances here assumed as individual atoms. This is when I realised about the kinds of substances that keep coming on my colour palette. Due to congested place (Living life-space in India), many times I choose these forms of substances as a single colour or a mix of many colours. First, I felt an emotion of hatred, with that mixing. Therefore, I wished to exterminate all these substances and its roots from this world. But later I gradually realised and pondered, what is the relationship between these objects and me? Why is this thing staying with me? Is there any destination ahead? Then I started looking at it in a metaphysical way, expressing my desire and emotion through these objects. When I get into these objects, explore from atom to atom. There I am astonished, I am right there in front of me (my pleasure or my beauty and my happiness and my conceptual tourism spots). I am not only in these objects but also in every object of the world and in different combinations. Another desire of mine is to my conscious self, I should be there in a combination of the whole artefacts in the world and cosmos.
My emotional viewpoint, such as my assumption is that the human civilisation could not be developed by man-made objects (intelligence). We lost our immunity and happiness due to intelligence. I strongly believe that our intelligence should be used on behalf of nature, not to against it, for us. All truths about essence known by us are ultimately grounded in our concepts — the way we perceive things, this is psychology, I strive to experiment a new kind of disgust, an experience for the human mind. Thus, more as such different perspectives going on.
This work has been practised by with mix tool to blend six, seven, or more items with my emotion. They exist together at a microscopic level losing their primary attributed form. This is the final output, the unique matter in a formless form. New characters emerge and the inside invisible forms mean 'chemical compounds' are manifested as a liquid. This liquid is not for the use. It is the abstract form of nature. These social liquids are not going to attain any form and would continue to remain in a bowl or in any given shape of the container. Maybe yet another way I would try to retrieve the substance in nature due to these Ephemeral Works. My work approach is multidisciplinary.
Approach:
As a kid, I was greatly inspired by scientific discipline, scientific experiments, it was like a magic to me. It holds heavy influence on me in my life; I desired to become a scientist, only I didn’t understand those formulas in my school academics. So, I did the next best thing. I followed the process of art, throughout my life is the scientific research way. In the scientific process, it is time taking and beyond common sense. So, my science is rather ‘easy science’, no need more time to invent new things and mostly dealing with common sense. Perhaps I like the result more than the process of science in my childhood days. Art might be entered here. Art might be taken over the first stage of my process science as magic. In addition, I know the common properties than scientific properties. I take a metaphor of the investigative science (practical or theoretical, fictional), and with this applying to non- scientific property. The aim of here, consciously produced properties of the substance, to blend it with some other conscious produced substance physically and it happens to few other substances; I get to collapse their properties into equal properties, as an investigate the science of chemistry. Through this, explore the new properties of substances. It encapsulates multiple aspects from limitless the conscious culture.
With life experiences, I came to know, my nature somewhat spiritual is respecting everything. Here everything I want to spread with spirituality. Meaning, my art rises through my nature point of view, but again, my nature, intended to define it through every perspective (or styles). Since my childhood days without knowing the concept of beauty (genres), I enjoyed it with subconsciously. I knew only my mother tongue, here. So, in school and college (BFA), when I saw visuals in the art history books, only images communicated (understood my way only) with me. The text was in another language. Thus, my art history is only visual based; there is no style or concept. Every visual was equal to me. Lately, I realised there were concepts, styles, and philosophies behind every artwork. I try to add my knowledge to my early exquisite conscious. Therefore, I blend conceptually all perspectives into a single and main perspective and that is the definition of my spirituality. I do not limit my spirituality to existing conscious perspectives, maybe also collect from the wholeness of consciousness. For this, I take my work process into beyond the time and space, blending with conscious culture. In my work, not only mind involved but my body. This is not just for the mind of the viewer and his body too. Therefore, it is for the wholeness of consciousness and substance. Even I respect viewers their own wholeness of interpretations.
Conscious can neither be created nor destroyed.
Suppose, if we fill this universe and traverse from one Big Bang to another, and so what do we discover? How many times does the Big Bang repeat, a hundred times, a thousand times? Or one million or billion or one million million million times? Imagine how many times was this conscious (Life) born? One thousand or a thousand -thousand times, I do not know.
So, I am trying to explore this interesting ‘repeated conscious’, consciously. I firmly believe that if the substance of the Big Bang is repeated and continues to exist, then the ‘repeated conscious’ memories that it carries should also be co-existing. The memories do not stagnate but are kinetic in the form of waves (or in any other form) in this space (just as Einstein’s gravitational waves). There is a possibility of the brain to capture these waves like an antenna.
It is my conviction that the time and space have ‘repeated conscious’ includes customs, art & culture, social issues, life behaviours, philosophies, objects, life, death and so on. In turn, it means that we have repeated Einstein’s, Van Gogh’s and Picasso’s, more common men with different names, different features, different incidents, but their ideas more or less being similar.
My brain is experienced by this ‘memories’ postulate. Perhaps I collect perspectives for my work from ‘repeated conscious’, those are already here, I don’t know. It is a closed book, an ‘Enigma’. What we do ideas of art now in this time, maybe every idea was there in oldest Big Bang. If possible, my work is new from every Big Bang I send my version of artistic creation and knowingly of ‘repeated conscious’ as a memory to next Big Bang.
What I am, what my nature belonging everywhere and every time, I perceive it probably from the present, the past Big Bangs and I release to the future Big Bangs. I desire my work stand not alone for the conscious time of contemporary artistry and I append to the completely conscious time.
Analysis:
So, Forms of substances here assumed as individual atoms. This is when I realised about the kinds of substances that keep coming on my colour palette. Due to congested place (Living life-space in India), many times I choose these forms of substances as a single colour or a mix of many colours. First, I felt an emotion of hatred, with that mixing. Therefore, I wished to exterminate all these substances and its roots from this world. But later I gradually realised and pondered, what is the relationship between these objects and me? Why is this thing staying with me? Is there any destination ahead? Then I started looking at it in a metaphysical way, expressing my desire and emotion through these objects. When I get into these objects, explore from atom to atom. There I am astonished, I am right there in front of me (my pleasure or my beauty and my happiness and my conceptual tourism spots). I am not only in these objects but also in every object of the world and in different combinations. Another desire of mine is to my conscious self, I should be there in a combination of the whole artefacts in the world and cosmos.
My emotional viewpoint, such as my assumption is that the human civilisation could not be developed by man-made objects (intelligence). We lost our immunity and happiness due to intelligence. I strongly believe that our intelligence should be used on behalf of nature, not to against it, for us. All truths about essence known by us are ultimately grounded in our concepts — the way we perceive things, this is psychology, I strive to experiment a new kind of disgust, an experience for the human mind. Thus, more as such different perspectives going on.
This work has been practised by with mix tool to blend six, seven, or more items with my emotion. They exist together at a microscopic level losing their primary attributed form. This is the final output, the unique matter in a formless form. New characters emerge and the inside invisible forms mean 'chemical compounds' are manifested as a liquid. This liquid is not for the use. It is the abstract form of nature. These social liquids are not going to attain any form and would continue to remain in a bowl or in any given shape of the container. Maybe yet another way I would try to retrieve the substance in nature due to these Ephemeral Works. My work approach is multidisciplinary.
Commenti 0
Inserisci commento