"It's All You"

Pencil on Card

22.5 x 31.5 cm

"2"

Pencil on Card 

22.5 x 31.5 cm

                                                    

      The Festive Character of Theatre

    Repetition of essence. In exploring ourselves through art - this hermeneuetic exploration of identity - we see coming to the surface ourselves, with an essence, which we recognise as ourselves - as we explore these plural essences - repetition of the theatre - in repetition itself - we recognise ourselves and explore further: ethically repetitious: moral grounding/ guiding - ourselves, we wonder/ wonder and see reflected in the other, within ourselves - what we become. Becoming is a process of exploration of the self. Of creating an essence and building upon an essence. Gadamer claims this is visible - internally - through art. 

     Art is inside.

     Extravigance is not needed - it is enough to be. In being, we fulfill a role in the group. And this role is represented by the other - as - he - is. Contributing to Gadamer's ethical balance. Harmony

                                "Just Be You"

                                 Oil on Card

                                  50 x 40 cm

      The Form of the Festival is liberated. No - the form of the festival is liberation. Subversive, free, classless, open, expressed. Contageous. Undeniable. Yet known. The form of the festival. 

     Art blooms in lack of authority.

     There is depth of scope in imitation and originality. I INTEND. The freedom supplied by art. A form of being - unique. - There is no distinction between Good Art and Bad Art here. 

     Only what we intend. Only what we produce and by creating. What we create - intend - We take an active step. Making our reality - consciously - froming but also believing, our perspective, composed by many - differnt colours. We participate fully, believing our creations, mixing our colours, we become ourselves, more, when we engage in art. The way forward is intended, but it is also limitless. Every encounter has the potential to change one. And when we open to this possibility, Art becomes real - functioning tool for us going forward. As we develop and mold ourselves - enjoy and inspire, Become more than we were before. The point, ultimately is to Be. Open. To. Being,

                                                                                         Brother

                                             I have found the Gate and I have the Key

                                              Chalk on Card

      Becoming.

     The Nature of Human Kind? Is revealed by our nature with the transient. The Symbol unlocks the potential of utility and creation. Of practicality and trust, creation. Trust yourself. You will know the nature of the transient. The leap will become a better version of yourself. You have all the tools you need to succeed in this. You have never let yourself down in the past.

    Knowing the new adds to your vocabulary. Swirl. Assimilation enriches the colours of language with which we paint.

     What art means in the moment - and what art means in the past. Take off your presuppositions and dip your toe in the new found waters of the evening sea. Without any concepts of what may be - only what was - we can emerge into  a new understanding of ourselves and everyone we meet. Casting off pre-judging - the aesthetic experience is allowed to enrichen our lives, as we go forward, every individual adds to my colour palette, and I embrace each and every one as a valued part of what I am to become as I wander. The discrimination and fear of the unknown is overcome by the words of Gadamer. And I go forward with conviction I never knew before, because I know more of the world. Any idea of stereotype - any idea of catagory, any label, is superfolous. There is only art and it's appreciation, for what it is, when it is, why it is - all of which bring a deeper understanding of myself.

     The Form of the Festival is liberated.

     * When I make art. I feel like I am eternal - take inspiration where you can get it.

     " On the contrary, we have to ask ourselves what it is that maintains the continuity of art and in what sense art represents an overcoming of time" (p46)

  

     An overcoming of time - and place taking what is "full", overcoming, power. Fulfilling time. Fulfilling being, a time to overcome - a time for power. A time and a place.......stick, or go. Celebrate! 

     Celebrate the known, or celebrate the new.

     How will the me of yesterday change the me of today? " It is a question, therfore, of allowing what is to be. But this "letting be" does not mean the repetition of something we already know. We let the past be for us as we are now, not by repeated experience of it, but through an encouter with it" (p49)

     The way we encounter the symbolic in art.....the old culture bringing meaning to the new.

     The Encounter

     Why is the transient (experience of art) familiar? Why when we make the leap - from the known - experience of our own culture - the known - why do we understand - Gadamer's idea of the transient, the "making of the new". Why do we know this? Understand it?

     Gadamer talks about the Symbol. And its two-way relationship, between the known culture of our past, and the culture we discover on our way. As we create our present from our past. Clearly the past is known - is permanent - works - functions. But when confronted with the new - what do we recognise? When creating our new ideals, what do we "know" in the process? 

     We embelish what we know further by re-examining this  <~~~~~>  even in an instance of complete formation of new idaels, something is recognised. Alienation is a contradiction because we must recognise the new in some form to make it permanently a part of our ( cultural ) past. Making the leap involves a certain amount of knowing - of familiarity - why? Art is uniquely human. This is taken further in Gadamer's concept of "The Festival"

     Where do we go? From here?

                                                  "Pure"

                                                   Pencil on card

                                                   16 x 27.5 cm

     It is my intention to find out. A constant reaching, nourishing the soul, growing in Play. Exploring. Art comes to us in a wave and our interpretation of it - dreams and rapture - are our own senses talking to us. We percieve freely when we are free to interpet - to follow the art as a true reflection of ourselves, what do we recognise? It is our striving. It is the action - to live - which reveals the unknown nature of the transient into the known ideal we can use tomorrow. Relevance emerges subconscoiusly? When we freely choose - to act - to engage with art. And to trust what the art speaks to us. Becoming

Joined

     If you listen you will hear. " We have to go up to the building and wander round it, both inside and out" (p45) An exploration, an exploration of the symbol. We are alll limited by our thoughts, by our interpretation of art. But sometimes we transcend....this happens when we engage with art. And when this happens - our limitations - our "contingent qualities" (p44) unlock a greater dimension - we have access to the "ideal". 

      "Each and every reading will inevitably offend us in a certain sense by virtue of its contingent qualities" (p44). What he means by this is that our limitations are just that. Limitations. They hamper, they restrict. Growth is denied. He goes on to say " The process by which we liberate ourselves from such contingencies " (by taking our thoughts and liberating ourselves, opening up the symbol, taking that step.) " our contingent thoughts become more " (p44)

          REACHING THE IDEAL

        OPENING THE SYMBOL

        LIBERATING THE CONSTITUENT PARTS OF THOUGHT

     The aesthetic experience is an opening flower. It depends upon how we open the symbol. We are all limited in this sense. We open only when we can. And it is this, Gadamer claims, is the degree to which we engage with the aethetic experience. With art. And this he claims is an ongoing proces.

 Roamimg.

     The art will go where it will, taking on the forms prescribed to it. Seperate from the individual but living inside him. In the wind. It is taken up where it is found - enigmatic - yet real. Ready to be incorprated into anyones world view. A ready made basis for all existence - human. Knowable to only one, inspirational to everyone

     Talking to someone is a lot like playing a game of tennis. Except we are both playing a different game, on a different court, hitting a differnt ball

     In the end all things meet up. They connect. "Unity in the work". We are that unity, our experience of every day life is that unity. The temporal nature of life is this unity. I am lead by the art but i am whole by it. How autonomous are we? How much are we influenced by the art itsself?. It is clearly our interpretation. We experience it as ourselves. 

     Transcendence. The meaning is ours. Is created by us, experienced by us, is fully ours but, like Dust (Philip Pullman) we experience. The trancendental nature of art. It's powerful nature, is a product of our manufacture, but when we experience art. What is the external nature of art? Gadamer would say it does not exist. But in another sense, the art is what unites us. The art will go where the art will go - we must follow.

     Only through art can the soul be nourished. The human element of it provides the spark sustained. Alone, the thing is theoretical, even the symbol. But with the arrival of Gadamer's "Festival" the symbol becomes alive. It has heat. Though we cannot agree upon what the Festival is, because it is completely different for everyone - the perspective or interpretation of the "Festival" is totally unique. It is undefinable. Yet when it is expressed - put out there - we give it legs. It is interpreted. The heat is felt and it becomes real in the sense that, this thing - Art - we cannot define - nor express in any meaningfull way - the concept - unexpressable - is taken by the other into his symbolic order and is alive. The human element - the Festival - HITS! The structure of which - can it be defined? Or only experienced? Live, Live for onesself

                                                       - - - - - - - - - 

     Intensity, a focusing of the Creative Spirit, elaberation on the symbolic, fired by the other, by the Festival. Leading, or to be lead. Life is what you make it.

     Quite literally, what we create is ourselves. We do not have complete control over this as the art leads you. Gadamer is so inspirational with his mix of intention - having a will to explore - and allowing the art to take you where it must.

     Stay posted for more....

       "Unconceptually, we fit into place"

      The world is not an objective thing. It is agreed upon by many different angles It always "is" for the viewer. 

     - Reference

    

     Representation in full bodied meaning - colour filled vision. We can share this because we can agree this exists. In sharing our perspective of "how these things exist" we can inhale and exhale together. Fully commited to experience integrity. Our perspective, unique, shaped and coloured, adds to the palette of the other in the Symbolic. Full recognition of "the only way available to it" brings meaning to the world, my world and yours. 

     

     Unique vehicle to understanding art, truth and being. A one off, in the moment, never to be seen again. Every moment special.

     

                                             "To You"

                                                           "Boo x2x2"

" On the contrary, what is represented is itsself present in the only way available to it" (p35)

On representation, the way to recognising of "the thing". A representation a seeing of a thing. The represented in art "stands" in the eye. In a particular way, the representation, always adapting and growing, becoming more. More than just meaning. Art tantilises. Obscure, i find out more in the Art - truth. Within this understanding stands "something" represented. A mode or a vehicle to which more meaning will arrive. It itself, whatever it is, means - on-the-way-to - meaning, a red step. Symbol. Step to yet another way of being "in the only way available to it". An expansion, a capitalizing apon, momentum in motion, stepping, conveying, recognising in all its peculiarity - reference. 

Human Nature. What is the point of this Indetermenate Reference? 

         What happends in between Art? Is lit up pby the other

: Hippy Boo. Pencil on Card. 15 x 22cm

: Liven. Pencil on Card. 15 x 22cm

: The Tricking. Pencil on Card 15 x 22cm

                                                     : Tricky Might Bite. Pencil on Card. 15 x 22cm

           The Useful Illusion

     " Indeterminacy of reference" (p31) is just the creation.

     When the inspiration you feel when you look at a flower has nothing to do with the actual physical object of the flower, how do you convey that? 

     " Natuaral beauty reminds us once again that what we aknowlege in a work of art is not all that in which the language of art speaks" (p31)

     There is a seperation between the objective world, the way we experience it and how we communicate it. Natural beauty exists, it inspires from a place of mystery. It has no definitive purpose in aesthetics, yet it inspires. Yet it brings meaning with it and we "know". Our imagination is triggered and ideas, concepts come. A practical thing. Modern art does the same thing. We just know things even though they are not definable. Even though they are born in illusion - the other inspires me into action in the moment. Modern Art Rules! The human reflection of Nature

: Fluidty. Pencil on Card. 15 x 22cm

      What we "get" from the object is not an inate property of the object. Philip Pullman's "Dust" is a good way to describe the "significance of the exemplary meaning we see before us" (p31). Why do things "fit"? How do we understand? How can we take from Something ("Natural Beauty") and gain solid insight from it? What is it - in nature - or myself - that fuels this understanding? "Getting it". Knowing what to do - How to - live. The knitting of ideas. A tool. A view point - a person formed. Going forward. How can I form an opinion - knowlege - from Modern Art? Whether that is a painting, or from "Him"? From conversation - (with no rules). And use that as a solid useful experience. Giong forward? It knits together As I. And when I share that, that beauty, instantaneously recognised as new in the moment, the past meets the present and the future is shaped. Natural Beauty feels and knows from a place of non-objective momentary recognition in Identity of the moment. A froming - completely arttificial - of myself to - be - shared. And thus perpetuating - meaning -. Adding to the illusion - the useful illusion. 

     Individual Illusion - Shared becomes a strengthening of the other. And a further - more furthering of - a bringing to light. Shaped by the thoughts and threads of the other, in their own particular ways. I give this, a part of me I shaped in the moment to you which you will mold. 

     The Illusion - unique - when it is open - forms. How do we know? What leads us to knowlege from Modern Art? The feeling - the moment of recognition? There must be two.

     Gadamer takes away from the perspective that there is no objective which in itself has meaning, stating that ( in natural beauty ) we understand from nature an illusion. What we know or learn from nature has nothing to do with any inate property of nature itself. That we create in a series of art moments, which can be shared and used - as the beautiful. And that Sharing deepens our understanding of ourselves and the world around us in a synthetic co-operation of inspiring and understanding one another

: Untitled portrait. Pencil on Card. 17 x 23 cm

 

Plesae feel free to leave any comments you may have......

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      * How do we take what is "sensed" into what is percieved?

      * Identity and Variation

          The Specific-ness experienced

     I am able to explore further aesthetically - Continuous. In relation to art. The unity I experience modulates. Exploring further though known. New ideas feel familiar. Exploring new lands feels familiar. The familiarity is Nuanced. Original and unique - adding to the whole - to be reproduced in a new moment, contributing to the New Known. 

     Added virtuosity. The Virtual and Sensed Perception of Aesthetics. The feel of the moment. Visceral. Touched by colour. Sensed by liquid. And shared by cominality. Be brave. Feel the concept. You will never strive too far. 

     Identity in variation takes wandering - as - onesself into a new concept - The Familiar - style - of things. What is this - connectivity - the different sameness of things? That i understand to be new. Momentary recognition. Art. Education. Self knowledge of the world. What is art's role in this? The Spark - Sustained.

     "The Spark Sustained"

          * Hermeneutic Identity: The functunal use of art as identity. When. Where and If?

     The unity of the work is on a basic level experienced at different moments when where if. Consisting of a continuum of experiences, events which constitute to the whole and will be used in the future to supliment the whole -

When Where If ......

     * Within-ones-self Identity of the wanderer

          : Of the Wandrer

              Within-ones self Identity

          : As one wanders

               Product and participant

Become the Moment - Distortion

   

     The work: is a play of distortion. 

       Possible series of works - Distortion?

       By Gadamer's definition of Play the art work does not exist. It is an intention. And they both do not exist in a solid form. Participant and observer. Dance. Relate. Exist. Metaphysically? React. To each other. It is this reaction we intend Involved, share - live art. How do you define Art in this context?

      " Do What You Have to Do"

. 

: Kara. Pencil on Card. 32 x 45cm

: Trouble, Too. Oil on Card. 49 x 35cm

Untitled. Acrylic on Card

: Always Thinking of You. Acrylic on Card. 49 x 35cm

 : True. Pencil on Card. 32 x 45cm

 * How far can you take it? How long can you streach it out? Elongate it. Streach it, mend it, make it. Manipulate it. bend it. Take colour to the limits.

          Red Yellow Blue. I live in you.

          Emergent in the work (Play)

          Emerging from the colours I develop myself. Does this make every painting a self portrait? Elements of ones-self emerging - a psychological profile of the artist? It certainly conveys personality moving in-the-moment. Serious as if it were real purpose. It is not (play).

     Play suggests no rules - and I find this to be true - in art i am completely free. I represent (unconsciously) myself and hope this reverberates with you. But it is not a thing because a thing has object-ive-ness. It is not a thing like a tool but exists in the space between. Is this metaphysics? Reverbarate. You become the moment

          Become the Moment - Distortion

: More Who. Pencil on Card. 32 x 45cm. 15/7/25
 

: Might Bite. Pencil on Card. 32 x 45cm. 11/7/25
 

 : Catch You. Pencil on Cars 32 x 45cm. 15/7/25

 We cannot Specify the moment of art. A grouping, catogorising the moment of art. Shutting down. This would miss the content, close the aesthetic reaction and pre-empt, dull - miss the point. Open the book and read on. He will never be static. "A peculiar case of it" (p21). There is no case. Formalising of moments. Catogorising of moments. A data-centric breakdown of the moment expectation censored - Grey. Look at each work a new. 13/5/25

   * Genius is a force of nature

: The Arena

     This is "The Arena" in which we play. 

     It solves the problem of "what art is" to some degree, and takes away some of the ambiguity presented? between the making of the art and the understanding of art. Addressing the concept of where it comes from and its understanding - In Kantean terms - The aesthetic appreciation of art - a "disinterested delight" (define disinterested delight) is not completely necessary - just enjoyed, inspired by a feeling, sensed and enjoyed without concept, but something that is communicatable through human endeavore - Art

     A "natural beauty" has no concept. The "Genius" is a force of nature

: Shout it Through. Pencil on Card. 32 x 45cm. created 30/6/25
 

 : All Boo. Pencil on Card. 32 x 45cm. created 26/6/25

 : Makes Two. Pencil on Card. 32 x 45cm. created 26/6/25

: Always You. Pencil on Card. 32 x 45cm. created 23/6/25

 

 : Play Boo. Pencil on Card. 32 x 45cm. created 30/6/25

 : The Peaking Boo. Pencil on Card. 32 x 45cm

Action/Abstraction

- A feeling. An Idea. A possible idea ( p260)

- The heart made solid. (p154)

- Progression. Interuption.Medication. (p104)

- Hope. Disapointment. Medication.

  Now. Never. Medication. (p104)

                                         Kara. 

The Arena in Which We Play:

 : The Moment I Knew Boo. 32x45cm. Coloured pencil on Card. 24/6/25

 : Always You. 45x32cm. Pencil on Card. 23/6/25

 The Relevance of The Beautiful by Hans - Georg Gadamer

* "Why does the understanding of what art is today present a task for thinking" (p9)

* "What is this truth that is encountered in the beautiful and can come ro be shared? 

 What is the the purpose beyond aesthetics? Something intelligible?

Presented. The piece must have a purpose. To be used as something. A means to an end? It must be accessable, when it is "out there" it is understood becauseit is part of "universal human comprehension". What is the realtionship between - "what" i caonsider it to be - between what my ideaof what it is and how to go about it - and what it is to the other? Tension. Linear continuum. Part of time. It exists Singularly and Continuously. But different - though universal. A concept of Connection/Communication. A link of electrical conductivitythrough the medium of paint. Aesthetically put - an offer and (not). The problem is one of definition. A linguistic proposition which never hits the mark! An experience of Art, no matter how it is described is always affirmed, not only in the moment of interpretation, but in the moment of communication (Kant).

     * What is the machine? Can it ever be deconstructed? And if it was, would that deconstructionbe anything like the representation in the Artist's mind at the point of conception?  - of the idea/ideal in the actual production of the piece.

     - it is a good idea to Ailienate onesself from the piece. Henceforth the work will be refered to as "The Piece"