The truth of the artist

This truth is born from diverse experiences, including observation, reflection and actions performed on materials (objects and active participants). The truth of the artist is unrestrained, yet at the same time conditioned by the truth of the object. Actions do not always generate the envisioned reactions. In many cases, compositions are fleeting, or do not fulfill the expectations generated by the truth the artist has developed. The truth of the artist, we may note, floats in a space filled with infinite paradoxes, just as our solar system does.

The truth of the object

Objects themselves have no memory, they are inanimate. However, the trajectory they take forms an imprint, a kind of stamp. As they interact with the "truth" of the object, the artist reveals unknown dimensions, decoding the stamps, reinserting, transforming, grouping, "aestheticizing", and producing the most careful observations from the viewing public.

Another layer of the truth is the spiritual, ritual, and empirical layer that is released during the observation, contact, collection, and selection of these objects. During their "useful lives", these things were inserted into an environment of daily ritual - like a doll, intimately accompanying a child and her family during a certain period of her existence.

There is also the actual aesthetic value of the object, its color, shape, material, and two or three-dimensionality. These characteristics prompt the artist to organically seek a "chaotic order", such as in an abstract poem, or perhaps in a silverware drawer with no partitions.

Wear your existence: ritual art

Ritual art recreates a certain trajectory that has been lost, or rather, suppressed from daily life and its relationship with the spiritual. By instigating the observation of the "object" and its truth, the artists bring us into a state of sensory and emotive immersion, where the imprinted layers which comprise actions are revealed. As with quantum physics, the active energy of the artist, added to the reactive energy of the object, makes that object develop itself in space-time, acting and interacting with the public.

We propose to reconnect the viewing public with heretofore hidden or dormant realms. To do so, we expect to use the construction of assemblages, totems, installations, accumulations, etc. Through this performance, the individual will become part of the collective, and the collective will become a singularity, in a new and unexpected conformation of elements/agents and spectators.

Nature, the Artist and the Ephemeral in connection with the Universe

When we draw a parallel between artistic creation (its developments) and the constant movements of the universe, everything is ephemeral and atemporal. Efforts have been made to measure the universe, to define a "time" - using light years, for example. However, the movements of the vast array of galaxies in expansion and all their nuances cannot be expressed simply by formulas and calculations. During every fraction of every millisecond, the experience of the universe is unique.

So too are artistic movements. They are defined by eras, styles, traits, concepts and supposed origins. Time does function in accordance with the ephemera of art, which include the individual experiences of men and women who view the "ART OBJECT". Their emotions, looks, reflections, and all other non-dimensional reactions continuously transform the equally ephemeral universe of the individual.

All that exists in art is transformation and movement, within the object and without.
We can experience this non-time and ephemerality of the universe in our "Residency Laboratory," working (even within a finite space) with various layers of existence: art, the sacred, nature, life, expansion, transformation, and even transfiguration.


Texto: Kabila Aruanda