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A few weeks ago when visiting the library I happened to read an old news magazine from 1914 and found future related visualizations there.
It was fascinating to see how the contemporary world were expected to morph. And the question rose; what platform of values, social norms, habits and structures were these futuristic thoughts based on and what do our society today say about the future we are visualizing tomorrow?
Is these kind of pictures just predictions or can they also be narratives to form the future with, fulfilling themselves in some sense?
Related: “Garden of Earthly Delights” H. Bosch 1504 (on Utopia/Dystopia)
Find this scheme interesting to compare with the creative process in art:
It´s a theory model about how a creative process work/could work [The Directed Creativity Cycle] made by Paul E Plsek (system engineer) in 1997.
I think it´s relevant also in the art field, but Plesk, that comes from the management context, consider it as a rational and conscious method and maybe there it differs.
Instead of concrete problems or task to solve artist might get more subconscious questions to answer. And during the art creative-processes “patterns of meanings” and “fragments of truths” are discovered and revealed instead of result and ideas to use in developments and improvements.
These as similar processes, occurring in different levels of consciousness, whether or not the work is written in a paper, implied in an organization or shown in a gallery. Similar processes, similar questions but in different languages and with different terminologies. Different point of views; together able to see more of the whole picture.
True or not; at least it´s an encouraging approach in an rational era when it´s essential to show the importance of art and debate the ignorance of reducing it to a childish game, periphery school subject or a amusement tool.
Sometimes clouds up on the sky may look like figures and some times ink-blots in the book form faces and the nonsense drawings in the sketchbook (“telephone sketches”) creates an object or a landscape; by chance something reveals and it´s hard to grasp why.
Moods, feelings and thoughts affects the projections imagined even though it´s hard to interpretate the manifestations.
I´ve tried to make some process-mapping in earlier works (Circuit of Projections) based on these concepts and have tried to see some patterns in the results.
For example I´ve asked myself: Can sadness be represented by gray-shades and shadows? Can bright colours and light inpose that hapiness and joyfullness are present? Can fishes and underwater scenes represent introversion and could birds and skies express feelings of freedom and openness?
At least sometimes it does…
Out of nonsense sketches:
Making the second plastic-painting.
The material-symbolism theme combined with naturalistic motives follows from earlier works. A notion of the “plastic life-circle” (sun-plancton-crude oil – process plastic products- emission – nature) is there and “plastic pollution effects” are somewhere present.
(The carbon material stays in the work and give it back to the nature by representing it.)
These glacier works get closer to the carbon emissions specifically by adding the “melting mataphor” when the melting plastic depicts the melting glaciers.
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