Category Archives: In the Gallery


Momentous occasion
Level of anticipation
Experience of seeing

Going to the root of things, interesting objects present themselves in the gallery. By breaching common sense, reflexiveness provides grounding for the uncertainties of cognizance.

“Imagination is the source of every form of human achievement.” – Ken Robinson

An Exhibition

Most general sense
Organized presentation
Selection display

Movement stimulates, opening up new prospects and unexpected contexts. Much of my aesthetic is associated with velocity, relative positions in space and time that differentiate objects of thought.

“Exhibitions usually are not collected; they disperse after they take place.” – Hans-Ulrich Obrist


Critical activity
Particular objects
Convention devices

Visual artifacts distinguished as uniquely worthy are offered on the spacious walls of the radiant second floor. As a laudable structural object in itself, this gallery space elicits an aesthetic response. Built in 1929, the Fine Arts Building is located in the Sedalia Fairgrounds Historic District.

“Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.” – Jerry Saltz

Outwardly Grounded

Always more perceived
Imagination object
Present as having

Objects of attention stimulation are made available for contemplative observation in the gallery. Not all exhibition participants are particularly interested in the curated art objects presented. Experience of an event is highly psychological, existing in the mind belonging to the thinking subject.

“In perception, knowledge of the object is consequent upon the experience of it, whereas in imagination knowledge is prior to experience.” – Jean-Paul Sartre

Art in Sight

Close looking
Reveal an object
Observation experience

Considering the art gallery as a unified fine art experience, aesthetics can change the dynamics of space. Under these conditions, perception can become more about the creation of possibility than only about immediate actuality.

“It is true that alongside the states of consciousness which live this unshrinkable and inextensible duration, there are material systems which time merely glides over.” – Henri Bergson

Woman in Red

Coded messages
Leaking information
Allusion appropriate

The gallery becomes crowded on opening night, making it possible to move about anonymously. Selecting items from among a large number of possibilities, under these conditions the artwork acts as a nice backdrop to consume and enjoy performance interactions.

“If real is what you can feel, smell, taste and see, then ‘real’ is simply electrical signals interpreted by your brain.” – Morpheus

Synthesis Task

Available indicators
Particular movement
Principle agreement

In a particular small town art gallery, the floor design becomes the primary aesthetic object of interest within the field of vision. The usefulness of any such enterprise must depend a great deal upon the value of selection.

“The same factors which have thus coalesced into the exactness and minute precision of the form of life have coalesced into a structure of the highest impersonality; on the other hand, they have promoted a highly personal subjectivity.” – Georg Simmel

Memory Render

Possible comparison
Past images
New sensations

Contemporary societies still find time to experience the sanctioned gallery, where art officially is designated and accessible. The aesthetic as an organic apparatus disseminates power in every field of human life, especially at the rarefied leading edge.

“The characteristic distinction of living beings, when compared to physical phenomena devoid of life, is organization, which, in moving creatures, produces a coordination of subjective states.” – Paul Carus

Empty Plurality

Limit case
In the middle
Free of objects

Brightly illuminated with natural light, cavernous interiors with hardwood floors appeal without additional ornamentation. Delivering my artwork to a gallery group show, the space is uniquely atmospheric prior to installation, becoming a self-sufficient aesthetic motivator in its own right.

“The unity of a work of art is the counterpart of a unity within the experience of the beholder.” – DeWitt Parker

Above the Ground

Contemporary intellectuals
Vacillate in a split
Forced to admit

Words plastered all over the gallery walls are offered in an analytical frame of reference. Ordinary language, with an emphasis on clarity of meaning dependent on an inherent ambiguity of vocabulary, questions assumptions about communication.

“What you see and what you hear depends a great deal on where you are standing. It also depends on what sort of person you are.” – C.S. Lewis