Entropy is an eschatological foxhole (where, allegedly, no atheists are to be found…). Mapping out its versatility (and its axal,... Read More
Entropy is an
eschatological foxhole (where, allegedly, no atheists are to be found…).
Mapping out its versatility (and its axal, arid atoms) can trick an artist into
either psychosomatic solipsism or holistic amok. This is a diptych about homeostasis
and dysthymia (aka, persistent depressive disorder).
Appendix
I’ve started this painting
as a reaction to Robert Smithson’s “Enantiomorphic
Chambers”. As an architect, my interest in Smithson’s work pinpointed the
dialectic nature of his “Nonsites”,
and his take on biomorphism – a
subject I’ve studied extensively via Frank
Lloyd Wright. My problem,
nevertheless, was that of equilibrium
representation - a subject I’ve started to consider crucial only in my mid
30s: it was the logic of the dynamic
essence of balance that, ultimately, is to be found at the core of any
sense of identification/identity. This kinetic
metanarrative offered me the academic tools to explain both the fungible
nature of Smithson’s working mediums, and Wright’s neoplastic condemnation of urban developments. It also
contradicted, to a certain extent, my sense of purposeless despair (and the
obsessive guilt derived from any linear cosmology that may be associated with
the idea of entropy). Furthermore, it put a stochastic spin on my artistic
work, thus doubling-down on my recurrent sarcasm triggered by the incontinent
misnomer “generative art”... However,
what is of outmost importance, it allowed the hope of a meta-self-regulatory
process that would maintain a relatively stable internal functionality, in
spite of evolutionary dead-ends. It afforded me the ontological homeostasis that
I’ve previously doubted. Imperfect POVs prove irrelevant when one tries to
isolate the chromatic reverberation that discriminates random dynamics from
chaotic alliterations. In short, I was trying to capture the irregularities of
time, for a very egotistic reason: they affect me the most!
To summarize, completing
this soi-disant “Brutalisme lyrique”
acrylic fortification helped me escape my own anxiety-carved fosses, and made
mirrors meaningless. And it also echoes Hilma
af Klint: “Less selfishness, more
indifference”.
UNIQUE ARTWORK
> format: XL > size: 107 x 72.5cm / (77 x 57cm) x 2
> medium: acrylic painting
> support: khadi paper 640gsm
more
on: https://alexandru-crisan.com/
