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Studies of the Curtain

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As human consciousness started to leave its mark on cave walls and lumps of wood and stone, a wonder awoke. Man left the realm of concrete practicality to reach the edges of hope and understanding – the Curtain.

With the passing of ages, the Curtain was further explored. Science, Philosophy, the Arts, and Arithmetic all strained at their limits – forcing their defiant fingers along the edges. Each observation, each stroke of the pen, hopes to understand what lies behind. They studied the movement, patterns, and anomalies and tried to piece together structure. We are born into this inheritance; we are far from the beginning and we will never be at the end. We are bound to the domain governed by Observation. But when one passes through the Curtain, Observation gives way to Theory.

In perceptible terms, my work is made within a framework of abstract romanticism. Elemental notions of balance and tension explore the paradoxical nature of human knowledge’s limits – the Curtain. The work invites the viewer to wrestle with tension and contemplate unifying substructure.

Working in an abstract mode strips away distractions from the marks being made. This ‘unveiling’ allows for focus to be placed on the elemental nature of the work: line, shape, value, balance, space, and texture. Because of this focus, the work becomes as ‘free’ as possible from pictorial associations. The inevitable challenge of abstraction is the subconscious yearning for structure. Though every person’s subconscious will use congruent marks to piece together unintended representations, these subjective understandings of the work neither degrade the subjective understanding nor disprove the objective meaning.

The very materials of the work embody the paradox found at the Curtain. Each raw material is subjected to flame and mystery before being implemented. The tree is cut and burned, transformed and prepared. The ore is mined and melted, refined and rolled out. These unifying processes and origins contrast their paradoxical transformations: the burnt charcoal absorbs light while the refined gold leaf reflects it; the charcoal prepares and sketches while the gold leaf polishes and solidifies. Though these materials serve opposite purposes, the tension their differences create is resolved in the visual unity of the work.

Over time, experiences of paradoxical Truth initiate people into choices in which paradox must be reckoned with. This moment of balance is the proving ground of the work. Are tension and balance embraced or do they alienate each other to extremes? In this way, the work becomes an analogy for the daily human experience.
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Monuments (III) (L), A Deep Exhale In (C), Monuments (IV) (R)

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Monuments (III)

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Monuments (I)

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Suffering and Loss (L), Repress and Divide (R)

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Taut

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Don't Look Back

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Rift (L), Mirror (R)