Schrodinger's cat is a thought experiment, sometimes described as paradox, devised in 1935 to illustrate the physicist's problem with the interpretation of quantum mechanics. Intended to point out the absurdity of a scenario in which the cat is both alive and dead, the case became a milestone in interpreting quantum mechanics, spawning multiple theories and interpretations. Both having a major issue with taking the multiple states of being as a literal interpretation, Einstein wrote to Schrodinger in 1950:
"...one cannot get around the assumption of reality, if one is honest. Most of them simply do not see what sort of risky game they are playing with reality - reality as something independent of what is experimentally established. Nobody really doubts that the presence or absence of the cat is something independent of the act of observation."
There is very limited research on how contemporary electronic devices affect a young mind, due to being outpaced by the process of integrating these as standard and common elements of our lives. Lacking substance and validity in a physical sense these practices alienate and distance the subject from their actual surroundings creating a substitute existence taking place of reality.
A portrait of an actress as Melpomene, the muse of tragedy.
- compact intersection of interlaced material
- unifying bond
- tight cluster of things
- feeling of tightness
- a complex problem
- a protuberant growth or swelling in a tissue
"Behold ! human beings living in a underground den, which has a mouth open towards the light and reaching all along the den; here they have been from their childhood, and have their legs and necks chained so that they cannot move, and can only see before them, being prevented by the chains from turning round their heads. Above and behind them a fire is blazing at a distance, and between the fire and the prisoners there is a raised way; and you will see, if you look, a low wall built along the way, like the screen which marionette players have in front of them, over which they show the puppets."
The Allegory of the Cave
Plato, Book VII of The Republic
Those closest memories and most remarkable dreams for me are connected to where I spent my childhood and I am constantly revisiting in the current (more conscious) state and time. While digesting the idea in my head I realized that I was subconsciously making a connection to Plato's allegory of the cave/divided line, which has always been on my mind in the recent period of my life. The walk from the subway station to my apartment in St. Petersburg was the most frequent passage of space I have revisited in my life, and has ingrained itself into my head with dreams and memories. It became a metaphor for the progression throughout the levels of comprehension (in Plato's allegory of the cave). There are several progressions in this series, which take place simultaneously but individually:
Formally, the images move from depth to flat surfaces while, appearance wise, they take a more recognizable look in the end. Regarding surface treatment, in this case, the string of canvas is a physical manifestation of the divided line of progression. The passageway begins as an artificial movement of an escalator emerging outside onto the river of transportation through concrete, railings, and wires. Eventually, the human reflection makes a shadow of his own presence apparent.
The basis for an observation is achieved out of these evolvements, when upon reaching the end of the line some understanding is accomplished. The realization of a place of a human being in his surroundings, and his relationship to it, in a brought sense (of humanity as an organism) is painful but necessary in order to enlighten the artificial cage of the mind. Driving itself on its own assumptions and empty conclusions unreasonably focused on the material sensory realm. Natural light on an unnatural material which was pervertedly transformed from something once alive is an example of how attempting to subordinate the nature and its cycle, to support the bias framework of desire, and excess, reveals its futility of not really moving ahead but staring into a closed door. Constructing a cage only to later occupy it ourselves.
Those closest memories and most remarkable dreams for me are connected to where I spent my childhood and I am constantly revisiting in the current (more conscious) state and time. While digesting the idea in my head I realized that I was subconsciously making a connection to Plato's allegory of the cave/divided line, which has always been on my mind in the recent period of my life. The walk from the subway station to my apartment in St. Petersburg was the most frequent passage of space I have revisited in my life, and has ingrained itself into my head with dreams and memories. It became a metaphor for the progression throughout the levels of comprehension (in Plato's allegory of the cave). There are several progressions in this series, which take place simultaneously but individually:
Formally, the images move from depth to flat surfaces while, appearance wise, they take a more recognizable look in the end. Regarding surface treatment, in this case, the string of canvas is a physical manifestation of the divided line of progression. The passageway begins as an artificial movement of an escalator emerging outside onto the river of transportation through concrete, railings, and wires. Eventually, the human reflection makes a shadow of his own presence apparent.
The basis for an observation is achieved out of these evolvements, when upon reaching the end of the line some understanding is accomplished. The realization of a place of a human being in his surroundings, and his relationship to it, in a brought sense (of humanity as an organism) is painful but necessary in order to enlighten the artificial cage of the mind. Driving itself on its own assumptions and empty conclusions unreasonably focused on the material sensory realm. Natural light on an unnatural material which was pervertedly transformed from something once alive is an example of how attempting to subordinate the nature and its cycle, to support the bias framework of desire, and excess, reveals its futility of not really moving ahead but staring into a closed door. Constructing a cage only to later occupy it ourselves.
Movement through time, a fragment of a memory. Specific space serves as a stimuli thus a connection is established. The elapsed time causes change, which becomes fully realized when faced with the view of a transformed space, and so the stimuli ceases to exist. Was visiting my grandmother's place of childhood, with her, and witnessed the ripples of distortion in perception. Took place during the time of my own mind going through a similar loop (detach), so I immediately attached to this occurrence seeing how it in itself becomes a memory of a vicariously experienced memory. Used a painting of her from 2 years ago in order to formally show the impact of the flow of time. Questioning the nature of the relationship between reality and its perception by the mind.
This is a drawing series I started working on during my last visit to Russia. These works were originally brought forth from the need to continue my experimental process, after the completion of the modus operandi sketchbook. Since intuitive at its roots, the theme of the series was open for a long time. Eventually I realized that content was being injected into it, derived from events and experiences during my stay.
Upon getting closer to completion it became evident that the central concept was letting go of a place in a material sense. Time and space are connected, and since memory is of a specific point, which has been gone, the relationship to it is only present on a non physical level. The essence is the thing of value to me, while due to a lack of connection in the current point in time, the space in its material form becomes alien.
Addressing conflicting structural framework again, this time concerning being in the position of seeing (apocalypse/revelation), yet being faced with the problems which arise out of the clarity. Cherubim is a concept of a spiritual being that goes back to Mesopotamia, later evolving in the Hebrew and Christian Bibles. The appearances throughout history vary widely, some of the later described it as being full of eyes.
While continuing the introspective process further internally, I am simultaneously beginning to attempt applying these views to my context. A lot of ideas are cooking, that seem to be rooted in the nature of this painting and the last one. They are focusing on the people around me, and how has my connection with them affected my own views, thought process, and emotional state.
The series is about an innate human desire to attempt to influence/control/own elements from the surrounding environment. Formally the work focuses on showing some form of natural progression by means of composition and surface treatment. Once again I'm adapting the idea of "fleshmaps" (derived from recent experimental flow): using the skin texture to implement the relationship of forms on various scales. It also serves as the connective element in this case.
While a portrait of someone, the painting is more about my point of view. Looking out, but above from underneath, as if through a layer, and from a distance. Establishing a connection with the surface by using puddlemaking to address the flatness of the picture plane yet imply a window (dimension). The subject is attempting to reach through the canvas but is ultimately unable to make full contact. Hair is a specific material that came about as a medium since in itself it carries a natural material existence, becoming a veil symbolizing a form of blindness and dismissal towards what is unseen in the material realm. The mouth is a verbal yet sensual organ through which some form of connection is pursued. However, since it is viewed as an exaggeration of self (hyperbole), the window is closing up.
