Category Archives: In the Gallery

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


Indicate precisely
Imposing range
Archeological layers

Objective reality exists outside of our subjectivity. Adding erudition to the mysterious, art decorates the walls on the boundaries of understanding. As with all bodies of knowledge, it is difficult to present a definitive analysis of certainty. In practice, totality error-free cognition is unattainable, while simultaneously a complete lack of doubt is undoubtedly undesirable.

“The game is worthwhile insofar as we don’t know what will be the end. My field is the history of thought. Man is a thinking being.” – Michel Foucault

Extension Confirmed

Certain indubitable
Reasonable conclusion
Transparent truths

In the process of analyzing a string of symbols, things are revealed in the gallery that are absent in the less mediated world of experience. Presented for observation, the subject/object divide becomes sharply differentiated, as the role of the spectator is strictly defined and finely parsed. Interpretation cannot function in a void, but a space can be designed for consumption.

“Time has resumed its shape. All is as it was before.” – Guardian of Forever

Demanding Truths

Exorcise fusion
Impede concentration
Segmentary flow

Rhizomatic structures naturally distribute. Dancing around the sculpture without designed choreographic sequences, the spectators are integrated with the art as mobile elements of alliance. The best thing about art galleries is their potential to become source material for new creative production. Inspiration lurks on the periphery of thought.

“The highest levels of performance come to people who are centered, intuitive, creative, and reflective – people who know to see a problem as an opportunity.” – Deepak Chopra