A Year in Review (M506) MFA2- the GeomeTRY OF JOY.

The Geometry of Joy-

“Joy is a mysterious beauty equal to truth and found in the reflective shadows of self.”         -m.Vara

In the two years of this MFA project there have been many intersections and aspects that have revealed themselves in the process of researching The Geometry of Joy. I have extensively considered Joy and the energy it both produces and is produced by through looking to history, art, science, spirit, mathematics, and philosophy as a means to contextualize the series of artworks I’ve discussed here in this blog’s monthly postings and in the project report The Geometry of Joy. In the blog postings one can find the specific information that speaks to the subjects I have thought about and have outlined [inconclusively] below. The information of these postings was masticated, digested, and subsequently expelled into the artistic visual equations which became the focus of The Geometry of Joy. The past two years has flown by; I feel there is still a lot of information to be harvested and will feed the creation of many more artworks on this topic; leaving me to feel like I can and need to do so much more.

An outline of some of the areas I’ve researched leading to the visual equations of Joy as revealed and created in the work could read as follows:

  1. Science of Joy:
    • The mathematical equation as a number is -1.61803…………… [1]
    • DNA, cells, and genes.
    • Energy – kinetic, static, potential.
    • Measurement of Joy. In the body this is KE=1/2 x 2010kg X (6m/5) 2- meters per second.
    • Joy as energy produces more Joy. Energy is a field that connects spirit and science, opening avenues to place -space- being ‘astral’ and means to travel. Travel through zones of subconscious and consciousness > mind.

 

  1. Spirit and Soul of Joy:
    • Everything has two sides, Yin and Yang, and the fine line between the two is Joy.
    • Spirit practices and Joy originating from the text: Joy is a fruit of the Spirit (Gal. 5:22-23). Employing kind words, sharing, empathy, and hope.
    • Attitude setting through Joy by the first decision of the day; incorporating meditation and physical tests to determine and direct how one is ‘being’ Joy that day.
    • Spirit/Soul: Where is Joy housed?
    • Contrasting Joy: Nature < Nurture; Full > Empty; Growth > Death.
    • Broken Joy.
    • Healing Joy.
    • Possibilities of
    • Joy as Connection; relationships that are physical, astral, and mathematical. Relationships between the material, human, animal, animal to animal, communication, memory, interior, and exterior.

 

  1. Ideas and Form of Joy:
    • Water as a metaphor for Joy in a parable in which Joy is at the cross section of molecular behavior; forming or organizing energy matter into three forms or phases consisting of solid, liquid, and gas. In the same way water is the only known substance that can exist in gaseous, liquid, and solid phases within the relatively narrow range of temperatures and pressures found on earth, so too does Joy. The unique shape of the water molecule, containing two atoms of hydrogen and one atom of oxygen, arranged such that one side of the molecule (nearest the hydrogens) is positively charged while the other side (nearest the oxygen) is negatively charged. If two water molecules come together, the positive side of one is attracted to the negative side of the other, making the molecules cling together. This simple fact accounts for the high heat capacity, surface tension, cohesion, adhesion, and other characteristics that make water so important to the earth’s biosphere. [2] I think the water molecule is a good visual model for The Geometry of Joy; Joy as the substance binding together positive and negative. [Note: with more time this can grow into an entire series of its own.]
    • Politics and/of
    • The cross section of fear and Joy.
    • Joy expressed through Form: interior, exterior, emotion, body, space, and time.
    • Joy as sound: silence (absence) and sound (presence).
    • Joy as sign: physical, gestural, and lingual.
    • Places of Joy: connection to memory, planned and chance opportunities.
    • Joy in material. Objects as vessels for revealing Joy thru mind, memory, and history of the object in regard to color theory, place, space, and time -physical and mental.
    • Joy as metaphor. Stories, parables shared through the processes of

 

  1. Processes of Joy:
    • Sculpture
    • Objects
    • Events
    • Painting
    • Photographing
    • Drawing
    • Creative writing
    • Meditation
    • Intention/Chance
    • Mental/Physical
    • Story/History

 

The outline above only slightly shows the potential of what and how I researched Joy, but not the order or the structure of my research, or its subject Joy. Between the areas and the subheadings there is much overlap; relationships and connections were formed across, back and forth, again and again.

I would summarize in words the outcome of my research in this project as revealing:

 

Joy is scalar; it has magnitude but not direction.

Joy is the fine line, yet infinite space, between Yin and Yang,

the two sides of Everything.

 

  1. Livio, Mario. The Golden Ratio: The Story of PHI, the World’s Most Astonishing Number. New York. Broadway Books. 2003, p. 2-4.

https://www.ucar.edu/learn/1_1_2_3t.htm


The outline above  explained in words the many parts that I believe create the Geometry of Joy. Clickable links are blue and lead to background information/ essays that formed this visual voyage drawn into  inspirations that I culminate as follows in this  blog post.

Welcome to:The Geometry of Joy.

 I- “Honor Thy Material” and “Respect the Process”.

THE GEOMETRY OF JOY  -Project report.

MFA GALLERY    -Photographs of work.

The Geometry of Joy included a survey of 125 people. The investigation questions were set up with a research team. The experience and information was translated into visual material. – Joy Questionnaire 2016_17

Joy photographs

Joy photographs


 The now: Geometry of Joy: Intention of the new work- Finalize, contextualize the entire process into metal sculpture.

316. Geometry of Joy (5-2017)  
26” x 26”, fractured metal welded with hand rail parts from a 1960 Dance commune on Lake George NY. Finished in oil. 


metal sculpture depicting Joy

314. Current Vector (5-2017)
27” h x 23”, recycled metal, fractured through intentional force, welded and finished in oil.


 

258. Reciprocal Zero (5/2017) welded metal painted with automotive paints.

 



welded metal sculpture

315. Gritty Titty
12” x 12”, re-purposed cut and welded metal, finished in oil.



tHE QUESTION: What atmosphere generates JOY within me consistently?  

I feel Geometry of Joys exuberance for me lives FUN in the line of relationships, travel and oddity and rust. Fun inspires! So here I have passionately created vehicles from scratch that keep one in the wind – freedom – flight, equating to The Geometry of Joy. The  the warm brown color, in forms rust and is partisan to continuous change.

“Jewel – Screw It”  – made from parts that in the 20 thru the 50’s would be now classified as an Old School Rod. 

Jimmy- “Rust never Sleeps”

1975 Harley Davidson Shovelhead Motor, Transmission 1975: 4 speed, custom handmade rigid frame, air bagged seat, Open primary drive, One off- Handmade custom everything.  

 


tHE QUESTION: Are Creatures Born with predisposition of Joy?

Geometry of Joy: DNA of JOY – Memory that lasts more than a life time.

VERT- 6″ X 6″,  organized – glued – human, dog, dirt, DNA entangled with other event materials. I use DNA to create context of cellular JOY connecting more than one person or species to a time and event of JOY. DNA is used for sculptures and photographs. This is a new perspective and is leading to further cell investigation and artistry.  

DNA to Geometry


Vert, (4, 2017) 

 


Geometry of Joy: Goal- finalize, contextualize the entire process into large metal sculpture.

 

Sculpture no. 256. ˈfôrCHən/z  5/8/2017
120” h x 72” r, flat stock, angle iron, trailer tongue, banding welded together. This piece is meant to change with time carrying a live aspect in steel.


  1. Traumatic Stress Release (4/2017) = JOY

24” h x 12”, seat mesh, valve release, temper spring, real estate sign stock, stainless, galvanized, steel, welded. Finish is intended to be RAW- found.

 


Sculpture- “Only Temporary!”   

24″ h x 18″ round, burnt aluminum.

Talks about the fragility of human emotion relating back to the Geometry of Joy.

 

 


New Paintings- Tar and Oil paint on canvas.

Flight-

 

Freedom-

 


5- Books of Joy,  Artist books, 5-2017, individually hand painted with acrylic, oil and automotive paints. Single addition of each book. The five books take a painterly approach into Geometry as shape, mutating surface of tradition. On these pages I play with ideas- metaphor, interior, exterior, residue, joke, relationships, material and color.  

Five Books of Joy

Five Books of Joy creating a painterly Geometry.

 

 


Forms of Joy

MFA Graduate Dialogue Forms of : Joy- Image: Oil pastel marker on board.

“Forms of  Joy” – You Can Light Either End”
Image: Oil pastel & marker on board.

 


 

No. 253_ˈembrēˌō/

Is a sculpture that has grown to be an entire survey of  its own, which stimulated new questions for DNA, Cell and Children in the context of The Geometry of Joy. 

To accompany this sculpture there is a book, 260 drawings and 3 paintings not shown here.

M.Vara. A_17 (5)

M.Vara. A_17 (5)

miChelleVara_Sculpture #253-Embryo

Series includes: Sculpture- Book – Photographs – Photo essay – Narrative drawings- Photographic metaphors – Writings – Anti/+- Journals ……….. happening.

 

“The act of resistance should be joyous and irresistible.” (1)

ˈembrēˌō/

 

 

"applaud boredom"

Where is Joy in -“applaud boredom” a photographic study, essay.

253.Embryo Toy Box. Photograph

253.Embryo Toy Box. Photograph a photographic study, essay.

 

the Queer Intimacy Series was birthed from the sculpture called ˈembrēˌō/ , as oil pastel on paper.

This is an extended practice to the physical sculpture that was created from the investigation of opposing impression of force and how it sits in JOY.  

The critical review of a Witikins photograph called Arm Fuck 1982, was the starting point.

The oil pastels examine basic nature of form and reaction choosing to use 4 colors as a referance to feelings- reactions. 

There has been many creative writings, that can be found throughout the blog.

Automatism- Reaction writing sample:

Arm Fuck
An arm in the ass
Reaction appalled
Raw
Ruff
And some say filling
A gay derby of indiscreet
A game
Stimulate
Reactions
Pain – Pleasure
Distain
Who’s to gain
Arm fuck
What a shame.

 

Humanitarian senses violated
Visual senses vomit curiosity’s
Ruptured in
Pain – Pleasure
Ego
Power
Driving Fear
Exhausted Overwhement
Remember freedom
Breath – Feel
Sooth self: All that is- is on your side.

1. http://www.vagilante.life/love-letters-project


Sculpture No.252 Under the Apple Tree

21″h x 6″ round, recycled metal parts welded and finished in oil, specifically chosen to represent symbols of language.

no. 252 _Under the Apple Tree


no. 254


no. 142_ Three Pi 

Series includes: Sculpture – Book – Photographs – Photo essay – Narrative drawings- Photographic metaphors – Writings – Anti/+- Journals ………..

Study: As suggested by my adviser: The process is similar to Marcel Duchamp’s, in Bride Stripped Bare by Her Bachelors, but in his case it took eight years. I have chosen one piece of sculpture called Three Pi and attempted to draw out, find or connect to,  in order to evaluate and find joy in and out of the piece. The processes as follows:

C-of-3-Pi

Joy

REVIEWING JOY

Three Pi – birthed  Background to piston.

 

 

Photography essay  – finished as a book Aspects to Geometry.

sample-


 

Evidence Dance

Energy drawings of Joy in oil pastel.

Question: Can automatist action capture the Geometry of JOY in the watching of other beings?

 


 

Question: how does string theory work into the Geometry of JOY?

No. 243 Untitled at this time
96″ High x 60 Wide. Welded metal.
Created through the inspiration of reading about string process, theories and black holes as contextualized  to The Geometry of Joy.


 

no. 351 _Cosmopolitan Meeting 

Sculpture – Book – Writings – Drawings

The Book is the following of objects, events, happenings, over two weeks in NYC, that join together and create a new scene of sculpture.


 

The Seed series is a book comprised of oil pastels, photographs and oil paintings with poetry. This series has over 1600 pieces to it indicating the magnitude of Joys Geometry.

Altered photographs,

Altered states of process and reality’s.


Seeds of Joy – Oil Tar and Gold leaf on canvas-


Paintings Verta- tar & oil on canvas.


The Lisa Challenge – In a meeting, Lisa Osborn said she didn’t believe my work was intentional and challenged me to create Joy on purpose in sculpture. There was three pieces made and only one shown to the Ti community.

no. 245__ Contexts of Joy 

24″h x 28″l x 5″w, Found parts welded. Parts are chosen for their metaphor and left in ruff finish with oil over top. 

 


no.246_



 

no. 248_ The Thrill is GONE

 


Garand Shot- Off the Table – Silver Order (1)

Garand Shot

Pain Radical Inspiration 

This series is made by force to precious house objects for a extensive and deep visual  language  that includes happenings and experience.


 

  1. Principals of Tradition (2017)                                                                                           26” h x 18”, the Rolling pin was used in preperation of daily lunch at the Queensbury NY, high school for over 35 years. The antique water bottle was exploded as part to the Off the Table series, welded together with chandelier piece and structure, left in found finish.

    251. Principals of Tradition

     

 



247. Mixed Signals 
28”h x 25”l x 8”w, reclaimed kitchen utensils welded.

metal sculpture

247. Mixed Signals

 


no. 242_ 

This is done with no welding as requested by adviser M. Bowdidge. Once completed it was used as a piece for performance. I didn’t get a chance to video successfully so at another time i’ll have to do it  again. But it will never be the same. it worked as a platform to the election-  serving – political social – putting on – waist – body- the Haves and the have Nots! contradictions of policy (dis- Comfort) in memory of cake (comfort). Where I showed the piece it was dubbed a political Americans name, it was great fun and the people involved enjoyed each other and the event! totally Joy! the euphoric sense  of community was stimulated and enjoyed.

 

no. 238_  False Positive                                                                                                      Dimension: 15” h x 6” square
Material: pewter vase, napkin ring, glass condiment shaker, fabric under garment, beads, brass, gold, silver, wire, epoxy.
Finish: polished pewter
no._238-False-Positive

No. 238-False-Positive

 


No. 237_ Nucleus of Adam 
Dimension: 16” h x 6” square
Material: Pewter, wood: table leg, acorn nut, spacer.
Finish: enamel, wax and linseed oil.
 
237-Nucleus of Atom 10_2016_1

no.237-Nucleus of Atom


 

#240

 
 

Materials: antique plate with 14KT gilding; antique ‘Cranberry’ glass; threaded rod; transmission race; circles; bicycle breaks and bracket; bone. Parts collected in Berlin Germany.

Inspired in Joy of complex layers of Berlin Germany’s conversations.

236. Gold-Means_Art Photo-2016, miChelle Vara, Sculpture, Mixed Media, Junk Art

236. Gold-Means_Art Photo-2016


no.241_ Bucked

18″ h x 3″ round, kitchen objects knife sharpener, with horn, brass rind and welded.



 

Limb Series – Paintings 

Limp Dick- oil painting on canvas

This series creates a context to Joy as located in pain. Pain is complex Geometry which easily contextualizes research into visual out put. 

 


Breath of Joy is a photographic series computer altered.

Natures way- manipulated photograph

Natures way- manipulated photograph


Anti Journaling-

i Anti – Journal every day and just pick a sample by randomly opening to a page or a random book for submission by chance. I figure the universe has a plan better than mine,,,,,                    

~I am just the conduit.

~Life is like a stream~
Small particles gather forming shape temporarily
Always in motion
Change
Lucid – Air – Flow- Lucid-
Bear Care- Hold-
Focus
Attention – notice- details dissipate rapidly
Beauty each moment- Beauty in a single Breath
Deep details – Distinct differences
You- Me- she- Him – them- differences
Colors – All metaphor- translucent
Life is temporary
Translucent
Temporary
Sometimes, no time- to say
temporary
Take notice
Play
Take Notice
Splash
Take notice of the day………


Research Papers 

Creative Conduit Production [CCP]

Object Energy 

Open Quelling Dismissal


“Social Sculpture of the Artists Mind”

The presentation was a great success- I made a video of my work over the last 8 months to move the onlookers into the experience of: “The Artist Perspective”

I started by asking myself:

How can I use already realized physical work to make/cause a viewer to FEEL how i feel during the creative ARTIST’S PROCESS  in real life.

What is presentation’s goal?

I answered both questions.

The video of my work was in a fast unpredictable pace & large quantity of visual stimulation- art stills shot with intention, showing where the artist lives and how she thinks. the outcome was varied and I was told multiple times how it made the onlooker feel. In one case it made a person infuriated.    

When there’s more time I will expand this idea into finished art works and happenings.             


Imperceptible Self   

Finding- the Geometry of JOY

Writings – Paintings – Oil Pastels – Drawings – Artist Book

Imperceptible Self poem

Imperceptible Self

 


 

The International Experimental Art Space –

Remembering the forefathers of art expansion!
John Cage, Duchamp and the likes.
The International (d) Experimental Art Space is an open and relaxed platform for experimenting in art for human growth. This space offers artist, thinkers, philosophers, performers, musicians, writers, a social place to further a practice, lecture, meet, experiment, present and engage with peers or just come to enjoy a conversation and comradery.

https://www.facebook.com/International-Experimental-Art-Space-1702213169995693/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sculpture Project that Rolls- “Screw It”

The Geometry of Joy for this segment is mechanical connection.  I plan on creating one of a kind automobile and one of a kind motorcycle that go together communicating my passions, Joy, and relationships that collide in the process of becoming. 

The car will be named “Jewel”.

The Motorcycle will be named “Jimmy”.

and this segment is “Rust never Sleeps”.

 

 Parts hunt-  clean- assemble-   Transmission time, 1939 Ford, finding the parts, step by step-

Jewett Build – carburetor  find.

Jewett Build

Find – Cleaning Parts

Jewitt Build

Manifold-

Jewett Build

Frame Find-

Jewett Build – Frame in that there Junk ! 

Nice Christmas present! – thanks Chad!

Jewitt Build – cutting frame apart.

Reworked gears for Transmission- 

Jewitt Build

Jewitt Build

JOY INTENTION:

Jewel- connect parts that in the 20 thru the 50’s would be now classified as an Old School Rod. If you who read this know about Ol’-School Rods its done in true to the time fashion. The nose is a 1923 Jewett, The frame is 1939 Mercury, Engine is a 1946 (59A) Flat Head, the seat is a 1970 toyota (SHuSHSuHSH to new), the Transmission- 1939 Ford, custom made bed originally from the Jewett NY- Fire Company – 1950 Dodge Straight axles.                                                                                                                     The current hold up is a (Hilderbrand) Quick Change rear end (I cant Live Without). We have gone to 7 states, swap meets, etc with no luck – Everything has been custom made to fit and/or work together. Yes that will be the final color but a little warmer after I use the secret finishing sauce.

Jimmy-

1975 Harley Davidson Shovel Head Motor, Transmission 1975: 4 speed, custom ridged frame, air bagged seat, Open primary drive,1975 Harley Davidson Shovel Head Motor, Transmission 1975: 4 speed, custom ridged frame, air bagged seat, Open primary drive, Handmade custom everything.    

Queer Intimacy of Visual Logic -April Post


Queer
(1) Intimacy of Visual Logic

Alchemy is a kind of philosophy: a kind of thinking that leads to a way of understanding. -Marcel Duchamp (2)

As artist, we must practice this alchemy daily to expand the visual terrain.                          -miChelle Vara

 

The Root of Re-Action

This project is a ruptured reaction that started in February 2017 with the review of a photograph called Arm Fuck, by Joel-Peter Witkin and snowballed from reaction to investigations of Landscape: Space – Time Figure: Relationship – Physicality – Reflection Force – Submission Reaction: Movement Sex – Slang Ethics – Truth Emotion: Primal – Fear – Hate Silence Sublime  into connecting atrocities against human rights, taboos of sexuality, leaving me to investigate morality. Furthermore me to question a Nation that empowers and allows ego to run wild like a spoiled child -ramped, and looks at kindness as weakness. 

The Blog posts over the last three months follow my circles of thoughts research and inspirations.

 

“The act of resistance should be joyous and irresistible.” (3)

For most of my upbringing there was an intense focus on morality what it was and how one should live by it. From the beginning morality had shame connected to it that would become attached to your soul and follow an individual to their grave. My family was intense and tight having been from Italy and Catholic by decent. My father’s generation was the new generation-activist of the 60’s movement trying to open boundaries of the mind with extensive action and education. I am the first family sprout from that generation which means the residue of Extremes & Catholicism pops up.

The social and political environment we have experienced recently in the world around us has been an assault on what I believe is the morality of human rights. 

The name of the photograph Arm Fuck, by Joel-Peter Witkin during this artistic investigation becomes the bigger picture metaphore, for this body of work called  “Queer Intimacy of Visual Logic”.

                                                            Queer is used as a facet of diverse strange.   To date this contemplative process has generated over 1200 pieces, not counting journal entries. Initially I was inspired to create the sculpture titled ˈembrēˌō/. Crucial to this sculpture and its expression is the kinetic aspect of the top circle.

The newest works are derived from the sculpture embrēˌō/

-journaling,

drawings

and photographs;

The Y of Embryo

The Y of Embryo

imploding and exploding the original and derived works through humor, drama, metaphor and contradictions. 

mVara_111.Foil Sculpture2

mVara_111.Foil Sculpture 2

I further developed my understanding through investigation of Morality -Space, Truth- environment and abstraction,

 

 

 

 

 

 

 

 

and contextualizing these through the concepts explored by Agnes Martin, Mark Rothko and Barnett Newman. As a conclusion to this series I intend to organize my visual findings into a book.

  1. L) Journal submishion 4/9/17:

Every thought and action is as if a tree growing from source.

  1. L) Journal submission 3/28/17:

NO REST

Note to self: remember to daily record ideas, impressions, and observations as they occur wherever they occur.

  1. L) Journal submission 3/20/17:

Womb- many describing factors to process, where one is connect from and to.

Void -Connection. Messy interaction.

My thoughts are intuitive and multifaceted; bringing forth perspectives sometimes in the form of memory and others that unfold as an ironic interactions – :

  1. Introduction

            While trying to find dates for what Barnett Newman called his ‘dark years’ I came across my copy of Agnes Martin: Paintings, Writings, Remembrances by Arne Glimcher which I had read in January to coincide with viewing the Martin retrospective exhibition at The Guggenheim Museum (NYC). When I stumbled over this book I thought, how timely. 

My new work looks as though I purposely created the drawings to connect to lines of thought that circle Agnes Martin’s On A Clear Day, where she writes “there free from environment and made as a response similar to music.” (p. 61)

My initial response to Arm Fuck was embrēˌō/ which rapidly expanded further beginning the look at morality put into drawn responses. 

There is a clear, visual difference between Martin’s and my work; Martin’s work is linear and fine, but mine is bold and simple. Where I connect my approach to her’s is through what she expressed in the following words:

Artwork that is completely abstract free from any expression of the environment- is like music and can be responded to in the same way. Our response to line and tone and color is the same as our response to sounds. And like music abstract art is thematic. It holds meaning for us that is beyond expression in words. (4)

For months, I have been repeating Martin’s concepts without realizing it, especially “meaning beyond words”; and I have found the same sentiment expressed by many other artists, such as David Smith. Martin uses words that I find perfect as a description for this segment of my work: thematic, abstract, free from environment.

  1. Exploration X

            Looking at Arm Fuck I drew it down to simple lines and shapes, with and without color: morality and social contrast, leading intuitively through reactive steps of unfolding thoughts.

One of my steps into the work was to purposefully free myself from my initial perspective of what I found to be expressed through the context of the environment would describe this as being ‘appalled boredom’.

 

Yet, this was not at all the response of other people. The general consensus

I encountered to the photograph was ‘rE-Rctively hoRRified’. That response I took

into a separate set of drawings. 

"applaud boredom"

“applaud boredom”

Another step was to draw from both sides of side of ‘appalled boredom’ within the environment.

mVara_Queer Intmacy_17

mVara_Queer Intmacy_17

After rumination on the connections between Martin’s and my work I re-read the book Barnett Newman by Thomas B. Hess to stimulate further reflection and inform spirit into additional ideas that inform drawings and photographs expanding the series.

  1. Narrative

Through narrative I considered how Barnett Newman in his works The Blessing and Gea, both crayon drawings, lead the way in connecting the Gea story and circle motif to twenty-five of my Arm Fuck-  ˈembrēˌō/ drawings.

The story:

The goddess Gea (Gaea or Ge) is a personification of earth, the first being that sprang to Chaos; she gave birth to Uranus and Pontus (the sea); by Uranus she became the mother of the Titans. For both the Greeks and the Romans, she reigned in the underworld. (Hess, p. 47)

For me this story was a fully charged battery of underlying narratives with which I could contextualize the work I have been doing with ; creating symbolic layers of body, morality, human rights, sex and nature, and applied notably in my series. I found the paragraph filled with obviously amusing metaphors that surface in this section of my work stemming from the photograph. One immediate thought about Arm Fuck is the blurred human head could be read as the equivalent of ‘chaos’. Chaos is an exciting entry point that I have often connect to that energy to draw from and carry further into photographs, paintings and sculpture. Add sex as a secondary means of access space and the exploration of ideas becomes explosively boundless. The composition of the photograph draws the viewer’s attention to the surrounding space and centering the focus on unfocused to create a semblance of shape into state of being. I see all of these things as Arm Fuck. Arm Fucks Reach into Humanity is overwhelming. This part of the series is still not fully examined nor developed but does contain fifty drawings and numerous photographs. 

Finally, it is important to note both of Newman’s crayon drawings depict embodiments of Joy that are found in the sculptures Three Pi and embrēˌō/  and that same Joy is tied into many of my new drawings in this series.

  1. Reaction Space   

            This project is a ruptured reaction which snowballed into connecting atrocities against human rights, leaving me to question morality of a Nation that allows ego to run like a spoiled child -ramped, – and find weakness in acts of kindness.

With this became another set of steps slogging from a reactionary space that turned into metaphors on ‘boundaries’ that produce reflective drawings and writings. 

Journal entries

Metaphors for Arm in the Ass and cross references to the social and political environment we have experienced recently in the world around us has been an assault on what I believe is the morality of human rights. 

“Queer Intimacy of Visual Logic”

1J/L.

Arm Fuck

 Arm in the Ass

Reaction appalled

Raw

Ruff

And some say filling

A gay derby of indiscreet

A game

Stimulate

Reactions

Pain – Pleasure

Disdain

Whos to gain

Arm fuck

What a shame.

2J/L.

 Humanitarian senses violated

Visual senses vomit curiositys

Pain Pleasure: old questions

All that is- is on your side.

Feel

Create…………..think………work

distinguish core

become a bearer of good

fight for light

  1. Social

I got some awesome, closed and open minded responses and reactions to the work in conversations at a private organized gathering of people who are not like minded, but were invited to talk honestly about Arm Fuck as a philosophical perspective about politics and art over a drink -kind of like a book club. You would not believe how interesting and varied the conversations were, and, for me, offered hefty information to draw and think with. Arm Fuck stirred a wide and at times heated variety of controversy.

 

  1. Photographs
253.Embryo Toy Box. Photograph

253.Embryo Toy Box. Photograph

My photographs have become the anatomical documentation. (3) Using  embrēˌō/; to reveal the connective tissue, of intuition and inquisition forming the structures that expose the wide range of perspectives; I have come to understand as visual dialog.

The problem I continually come up against is how wide a range of subject matters that my natural curiosity leads me to research and digest into works of art, which leaves me in a complicated place for explanation in words and crunched for time.

Anatomy of exploration:

  1. Investigate environment, metaphor, object.
  2. Abstraction
  3. Temporal environments: that moment- that ship- that lighting
  4. Chance
  5. Reaction
  6. Reflection
  7. Spatial concept: Ideas
  8. Planes: depth, surface
  9. Conversations of space and mind
  10. Question object life: If the object was alive what would its memory thoughts, be or could be and can this be communicated?
  11. Journaling
  12. Reactions: to photographs, to sculpture, to environment, to cross-sections of contamination.
  13. Dimensions of visual conversation that can stem from one object
  14. Words
  15. Possibility
  16. Self
  17. Document outcomes

 

  1. Joy

I have grown to love making small sculptures, something I never expected nor would I have ever pursued had I not been traveling to Berlin, Germany.  Small sculpture adds an entirely new set of opportunities. I found they have a way of revealing personality traits of the viewer in a way different from larger sculptures and I, as the artist, can control or demand how attention is directed, and interacted with. Small sculptures are very rewarding for me personally, and just plain fun!

While working on my final project report The Geometry of Joy and revisiting the readings and work of the past two years I realized Joy operates at many different tempos. Revisiting the works has helped me to understand this and the revelation of these tempos and the qualities of Joy have enriched the context of the works, exposing things I initially had not seen.

M.Vara. A_17 (5)

M.Vara. A_17 (5)

This leaves me to wonder when work is destroyed am I missing an opportunity to later in life revisit it and gain a different perspective that could have been revealed by its continued existence?

  1. Future Intention

Develop the photographs of embrēˌō/ into a set of mixed media works. From

the sculpture create more sculptures. I am undecided as to how and what the

parameters of their birth should be at this time.

 

 

  1. Closing

In Declaring Space (3) Mark Rothko wrote:
If one understands, or if one has the particular of space to which a painting is committed, then he has obtained the most comprehensive statement of the artist attitude towards reality. Space, therefore, is the chief plastic manifestation of the artists conception of reality. It is the most inclusive category of the artists statement and can very well called the key to the meaning of the picture. It constitutes a statement of faith, an a priori unity, to which all of the plastic elements are in a state of subservience.

He also says:

I think of my pictures as dramas; the shapes in the pictures are the performers. They have been created from the need for a group of actors who are able to move dramatically without embarrassment and execute gestures without shame.

 

I realize Rothko is speaking here directly to painting, but I believe his concepts cross media and connect directly to the spectrum of my work and ideas. My sculptures are performers, dramatically moving and revelling without shame in front of the camera. Photography is, for me in the words of Rothko, the “chief plastic manifestation of the artist’s conception of reality. It is the most inclusive category of the artist’s statement and can (is) very well called the key to the meaning of the picture”.

Sculpture Photography Paint

Using metal sculptures as the subject in photography has become a tool with which I build a platform upon which I can view the work; a platform where the visual conversation is deepened and findings of the experiments I am conducting are revealed; in a sometimes true or false sense of communicating. There is so much going on in my head, photography is a one clarifying stop of the shutter.  Through photography and sculpture I, the artist, speak of a complex interplay within – and between- space and object abuse metaphors- revealing a bigger picture.

In the case of embrēˌō/ the interplay is one of autobiographical abstractions, pun humor and disgust.

This concept of photographing sculpture as an extension of the creative process to the work acts to further the development of the ideas into visual language; it is something I believe David Smith didn’t get time to fully realize, although in his writings I see traces of the idea. For me this realization in conjunction with Smith’s work possibly stems from looking at his sculpture and life through the formative years of my artistic practice. 

To close this section, from The New York Times, May 27, 1979

Looking at the shapes that seem to result rather from some mysterious process of exhalation than from any more conventional technique of drawing, we remember Seurat. Looking at the images of germination that Newman produced in the mid1940’s, we feel almost as if we were looking at the magnified spoor of some creature that is too small for us scrutinize with normal sight. Looking at the four watercolors in which aquatic microorganisms float against broad vertical bands of color, we cannot but think of Kandinsky. Looking at the irregular oval that recurs in several of the earlier drawings, we remember Odilon Redon.

None of this in any way downgrades the originality Newman’s achievement. It simply reminds us of what we know already: that major art does not come from nowhere, and that the major artist is in nearly every case the one who relates most cogently to the great art of the past.

  1. Last thing

It is important for anyone who reads this to know that each work from this series, each visual object; could have a dedicated written description, all its own to explain the visual, symbolic and metaphoric depths and concepts which it contains and connect to the world around us. This document stands only as an overview and a summation of my work process over the last ninety days. In no way through this writing do I want to corrupt the stimulation that the work offers through direct, personal observation.

Please remember art is best experienced in person.

 

 

 

(1) Queer used as adjective or Metaphor-

strange; odd: she had a queer feeling that they were being watched

synonyms: odd, strange, unusual, funny, peculiar, curious, bizarre, weird, uncanny, freakish, eerie, unnatural, unconventional, unorthodox, unexpected, unfamiliar, abnormal, anomalous, atypical, untypical, out of the ordinary, incongruous, irregular, puzzling, perplexing, baffling, unaccountable, fishy, spooky, bizarro, freaky

(2) Alchemical Mercury: A Theory of Ambivalence, book by Karen Pinkus, pg159.

(3) http://www.vagilante.life/love-letters-project

(4) Agnes Martin, Painting, Writing, Remembrances, book by Arne Glimcher, Publisher: Phaidon Press,Publication Date: 2012, ISBN: 0714859966

(3) From Wikipedia: Anatomy is the branch of biology concerned with the study of the structure of organisms and their parts.[1]Anatomy is inherently tied to embryology, comparative anatomy, evolutionary biology, and phylogeny,[2] as these are the processes by which anatomy is generated over immediate (embryology) and long (evolution) timescales. Human anatomy is one of the basic essential sciences of medicine.[3]

The discipline of anatomy is divided into macroscopic and microscopic anatomy. Macroscopic anatomy, or gross anatomy, is the examination of an animal’s body parts using unaided eyesight. Gross anatomy also includes the branch of superficial anatomy. Microscopic anatomy involves the use of optical instruments in the study of the tissues of various structures, known as histology, and also in the study of cells.

The history of anatomy is characterized by a progressive understanding of the functions of the organs and structures of the human body. Methods have also improved dramatically, advancing from the examination of animals by dissection of carcasses and cadavers (corpses) to 20th century medical imaging techniques including X-ray, ultrasound, and magnetic resonance imaging.

Anatomy and physiology, which study (respectively) the structure and function of organisms and their parts, make a natural pair of related disciplines, and they are often studied together.

(4) Declaring Space. Mark Rothko.  Modern Art Museum of Fort Worth, in association with Prestel, by: MICHAEL AUPING, Prestel Publishing, September 2007,ISBN-10: 3791338862, ISBN-13: 978-3791338866.

 

 

XXXXXX_ sinice Ive posted this the conversation got started about my choice of name using word: Queer_

Cant wait for this conversation! = Sunday _

 

 

 

 

 

 

 

 

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)

————————————————————————-

ˈembrēˌō/

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

U-

Lize-  truth?

The dimensions of object consciousness and point to view.

Journey

Joy

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.

Artillery

 

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.”

Phycology:

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”

Interrogating-

Witkins

Bacon

Beuys’s

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.

 Closing:

 ‘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.

XXXXXX

 

 

 

 

 

 

 

 

 

 

 

Metal sculpture in Response Joel Peter Witkin

ˈembrēˌō/

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 different perspectives of Visual language in art photographs.

Next month I’ll be working this combination from the word. 

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. 

 

  1. http://www.history.com/news/rediscovering-the-alchemy-of-isaac-newton
  2. http://www.history.com/news/history-lists/9-things-you-may-not-know-about-isaac-newton and http://www.independent.co.uk/news/science/the-core-of-truth-behind-sir-isaac-newtons-apple-1870915.html
  3. https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=alchemists+definition&*&dobs=alchemists
  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”.
  5. https://micro.magnet.fsu.edu/optics/lightandcolor/primary.html

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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. 

 

 

 

 

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Process Build- Joy

Jewett Build

Doner Frame cut apart and used for the skeleton of a the Jewett.

Jewitt Build

 

JOY INTENTION: Jimmy and Jewel 

 

 

shoot them.