Reflection 3/21/2017

Started session with me posting a written pc-

Sickbed 27

Open the door,

let the blue sky span wide,

let inquisitive scents of pedals enter my room,

let the first sunlight

seep through the veins of my body.

In the rustling of leaves let me hear

Words that greet my being alive.

Let this morning

cover my mind with its shawl

as it shelters the new grass of the dark field.

All the love I received –

its wordlessness

I hear in the sky, in the wind.

Today I bath in its ceremony, its sacred waters.

The truth of a whole life as a gemmed garland

I see on the breast of blue.

28 November 1940 (morning)

 -book, Rabindranth Tagore: Final Poems, Page 15

Warm the conversation dimensionally-

Our conversation wandered and I condense my thoughts to the following-

Great art is always a way of concentrating, reinventing what is called fact, what we know of our existence – a reconcentration… tearing away the veils that fact acquires through time. (Francis Bacon)



The photograph by Joel-Peter Witkin- Arm Fuck 1982, is the starting point.                Caution Photograph is ADULT content. 

The idea becomes a machine that makes the art. –Sol LeWitt (1965)

Witkins photograph- Arm Fuck 1982; led to my creating the reflective sculpture no. 253 ˈembrēˌō/.

Witkins and ˈembrēˌō/ has served as critical dialog in more than 4 of my circles over six weeks. The conversations have been as deep and wide as the ocean with no boundaries to collapse exploration. Topics were loaded: Phycology, Sex, Emotion, Reaction, Belief, Practice, Space, Context, Material, Object, Perception, Society, Reality, Documentary –  This became a fantastic verbal, written, photographic studie (purposely spelt for concertation effecting a unified proposal or concerted action.) that has far exceeded any possible expectations and a shout of Kudos (1) to Witkins for his success!

The sculpture made in reflection is the mid-point to furthering understanding transmission.

Idea – in extended process

The sculptures photograph’s is the extensions in progress and become a dialog in the transcribing of a journey to:

 Con text u lize

Con- traversing ideas in contexts of person

Text- control, review to particular


Lize-  truth?

The dimensions of object consciousness and point to view.



Our conversations paralleled the ideas subjectify -ing visual reference. I explained the time, thought process and techniques being used in the creation of new photographic series.

…The subject matter of conceptual investigations is the meaning of certain words and expressions – and not the things and states of affairs themselves about which we talk, when using those words and expressions. –G. H. Von Wright.

A shot in in space and time.



Lisa well versed in Witkins work offered ideas to review. Mikael felt Bacon calling which lead me to realize the tie back to my series titled “THE LIMB”. I loved Lisa’s comment “Bacon’ isn’t brave enough to expose raw in way Witkins does”. So clearly direct.

Witkin’s Photograph is assemblage like visual that translates into sculpture smoothly.

I have purposefully chosen the angel of ˈembrēˌō/ photograph for the monthly and advisors review because this creates is a clear depiction of the sculptures connection to Witkin’s photograph. Michael says as I hold the sculpture up to the Skype lens- “The sculpture clearly depicts the connection and seeing it on Skype doesn’t make me see the directness this is where the photograph works, but not as a replacement for being with the object in person.”


James Jeans has stated: . . . When philosophy has availed itself of the results of science, it has not been by borrowing the abstract mathematical description of the pattern of events, but by borrowing the then current pictorial description of this pattern; thus it has not appropriated certain knowledge but conjectures. These conjectures were often good enough for the man-sized world, but not, as we now know, for those ultimate processes of nature which control the happenings of the man-sized world, and bring us nearest to the true nature of reality. (4) He continues: One consequence of this is that the standard philosophical discussions of many problems, such as those of causality and free will orof materialism or mentalism, are based on an interpretation of the pattern of events which is no longer tenable. The scientific basis of these older discussions has been washed away, and with their disappearance have gone all the arguments…..

Photographs of sculpture:

I started researching and found that the origin of formal photography used statues as the subject and as still life with that idea Embryo has extended to a photographic essay.

Object – Form from photograph – returned to photograph.

253. Embro

“The truth of image is not single, it is many ”… (5)

I am visiting “Object shifting by its photograph” the photographer- the atmosphere- the sculpture- the artist- the commentary- the light- the space- Shape Shifting

“I purposefully choose not to give dimensions of the small sculptures playing with the viewer’s’ perception of real.”

MB- “the image is not the Object”

“This process has its limitations because of the innate object- image limitations”





Joseph Kosuth

The second inclusion in Bishop’s collection, “I Am Searching For Field Character” (1973) is to be considered Beuys most concise statement on social sculpture. Beuys’s manifesto begins as follows:

“Only on condition of a radical widening of definition will it be possible for art and activities related to art to provide evidence that art is now the only evolutionary-revolutionary power. Only art is capable of dismantling the repressive effects of a senile social system to build a SOCIAL ORGANISM AS A WORK OF ART.” (2)

This is as relevant as when he said it and I have been traversing through/ in the physical works, word and acts that I prepare for review.


 ‘One and Three Chairs’ by Joseph Kosuth- “The art I call conceptual is such because it is based on an inquiry into the nature of art,” Kosuth has written. “Thus, it is . . . a working out, a thinking out, of all the implications of all aspects of the concept ‘art,’ . . . Fundamental to this idea of art is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction.” Chasing a chair through three different registers, Kosuth asks us to try to decipher the subliminal sentences in which we phrase our experience of art.


Epiphany: Find what you want to say in preexistence written form and cite its source. Quite the opposite process for creating- object- art.

“I have confidence in my ability to create beyond what I’ve done” (5) David Smith

Please watch for the photographs to follow.













Metal sculpture in Response Joel Peter Witkin


Sculpture no. 253

ˈembrēˌō/ is a response to a photographic image that was burned onto my retina as if I had watched a house, with children inside screaming, burn to the ground. The photograph followed me in my thoughts, a haunting agitation packing a punch to the stomach as if in mid-sentence leaving me gasping for air with internal questions.

For the rest of the story Please open – miChelleVara_Sculpture #253-Embryo 












There is a physical book that accompanies the sculpture as a language in art photographs.

Thank you! ~m


Metal Sculpture

Sculpture No.252 Under the Apple Tree

During Newton’s lifetime, alchemy and chemistry were considered virtually interchangeable.

“Alchemists were the first to realize that compounds could be broken down into their constituent parts and then recombined. Newton then applied that to white light, which he deconstructed into constituent colors and then recombined,” says Newman. “That’s something Newton got from alchemy.” (1)

Newton’s favorite alchemist was George Starkey. Starkey’s recipe translated by modern scholars for “sophick mercury” -the main ingredient in what is called ‘the Philosopher’s Stone’, a stone which could turn base metals like lead into precious metals like gold-  involves repeatedly distilling mercury before heating it with a small amount of gold. The process will apparently produce an alloy with strikingly delicate branch-like structures, resembling a tree. (2)

It is a coincidence that the tree and Isaac Newton meet here in his relationship to alchemy as well as in one of the most famous anecdotes in the history of science. The young Isaac Newton is sitting in his mother’s garden in Lincolnshire, when an apple falls on his head, although there is no evidence to suggest that it hit him on the head, it is implied in a stroke of brilliant insight and inspiration he suddenly comes up with his theory of gravity. (3)

Reading about Newton’s interests and life events led me to connect my thoughts to lines written in my advisors’ last assessment. Michael Bowdidge suggested “to become increasingly reflexive- What I broadly recommend would be akin to Newton that he spends more time hanging out in orchards.” This inspired the sculpture no.252 Under the Apple Tree and research on Sir Isaac Newton which revealed an ironic, hidden perspective or a tree with delicate branch-like structures; leading to a metaphor and drawn lines I’ve used throughout the sculpture.

Alchemy has been a branch on the tree of my work and research over the past ten years. In my work I refer to alchemy not only as a scientific procedure but also by the second dictionary definition as “a person (thing) who transforms or creates something through a seemingly magical process.” (4)

White light is an expansive, metaphysical and spiritual theory in which all light particles combined encompass love, healing and the ‘I am’ of Christ. White light can be incorporated into practices of meditation in White Light. (5)

In color theory and optics because white is comprised of equal amounts of red, green, and blue that together produce white light, the extensive connotations of this mixing causes these colors to be described as primary additive colors. (6) I could expand my thoughts on this into the circle and how the circle is the shape of color mixing diagrams, or how everything is connected to everything else in the universe as ‘universal knowledge’ and can be drawn back to the visual forms of the sculpture.  However, I also need focus on the to process of constituent parts used in the sculpture that recombining which Newton then applied to white light.

Throughout my two years of study I have sought to expose a seemingly magical process that happens between artist and objects that are captivated with a lifelike force. The process of constituent parts is an ingredient in the creative recipe for my process of inspiration. I choose each piece for its small details which together form the whole but are also extremely important and sometimes overlooked in their individual details.

Under the Apple Tree supports two upper, outreached circles -one that has raised facets and a rim, the other is concave or convex depending on the view. The upper circles, equally advancing or retracting, are finished in rust as a display of growth or continuous change which is the definition of life. The 3rd and lower hollow circle is a socket; I cut the end and photographed as a close-up to distinguish the artist’s ideas in space and the dimensions of the mind as never-ending. Lines connect to the sculptures ‘heart of truth’ fostered by process in education and experience. I could go on but I think you get the point and how the process of my visual life works.

For now the sculpture No.252 Under the Apple Tree will live in the reflective space of my meditation place to see if it calls for a color or not.

no. 252 _Under the Apple Tree

In short, this sculpture, started in reflection on one adviser assessment, is a playful conversation of Sir Isaac Newton and relativity in a wide reach of theories drawn across branches that shoot for the sky. 


  2. and
  4. Going to the center of your existence; silent, stay relaxed and still. Appreciate the divine presence of your soul within your heart. Using spiritual phrase or mantra that comforts you, for example: “Aum”, “peace”, “Our Father in Heaven”, “Our Lady”, “Bismillah”, “Sairam”.


If there was time I would in this segment have talked about Basquiat, Klein, Beuys, and how it ties to the reading I’m currently doing- each other and the sculpture but that will all come at a later date. The other disclaimer – I don’t like these photos so at some point in the near future I will re-shoot. To accompany these sculptures there are 260 drawings and 3 paintings not shown here. Please come back as in the very near future I’ll contextualize the following work. 
















shoot them. 

Energy Drawings – Evidence Dance Company

I got an opportunity to create energy drawings using automatic techniques which I rely on so commonly using oil pastel on paper as the medium. I glided through this lovely up close presentation and talk with the Evidence Dance Company who performed for an intimate group at the National Museum of Dance in Saratoga, NY. The Evidence Dance Company has gone to the Egg in Albany Catch them if you can.


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