The blog I found is called:
seven seals chakras buddha jesus krishna photons god magnetism (chi)
(That the text style the blogger uses for this title displays all the words above as lower-case names/titles/nouns/concepts/etc. is possibly very poignant to how this blogger thinks; nonetheless, that is not something I am goint to wrestle over right now.)
Well, how did I come across the following blog again? I can't remember, honestly. Just before, I was searching for the Greek symbol Nu to incorporate into an idea for a piece of art - I basically mean to use a "computer-esque hand pointer" (as in, your mouse pointer symbol) just above the right side of the Nu symbol, so that the two symbols combine to point up. As a side note, some of the meanings of the Nu symbol is that it can symbolize the amount of "50," and in wine circles it means "the price of wine without cask or bottles." (http://www.answers.com/topic/nu)
Well, I should first say, however I came across this blog (and it probably was due to the "Nu" image search), I was immediately attracted to the blogger's sideways references to duality, dichotomies, and paradoxes, and that is due to the fact that those are themes that run throughout my conceptual art pieces. However, I shold say that this blogger, and his blog in general, and as a representation of his/her intent, shows little interest in organization. The blog is, in other words, kind of all over the place. The fact that there is little organization to the ideas is a characteristic of many religious zealots, though this blogger may or may not refer to him/herself as a religious person, let alone a zealous practitioner (or even thinker - but probably would claim this last, at least).
(btw, I am just posting this here to save it for my future perusal, and nothing more - the religious ideals of the blogger do not really interest me, too much)
After my most immediate interest in the ideas, look and feel of the blog, the following ideas/section is what caught my interest most (this section exists towards the bottom of the entire, overlong dialectic):
TONIGHT WHEN YOUR BODY GOES TO SLEEP YOU WILL GO OUT
From Bill Donahue of Hidden Meanings
(What the hell is this Donahue reference about, anyway?)
What we consider to be a dream somehow concocted by our brain, is actually a very real experience in a parallel universe.
In fact when your body goes to sleep the brain disconnects from the body allowing you to be activated in any one of numerous parallel dwelling places.
You are a photon (a particle of light) who has possessed a body.
Yet your actual dwelling place is in the quantum world, out there.
Your body and brain are made of stuff totally incapable of originating anything.
You the light within ,drive the body in the same way you drive a car.
You are created in the image and likeness of God who is the supreme photon of the Quantum realm. Just as the Emerald tablet states.
As the scripture says " God is light"
When your body dies you don't go to Heaven but rather you return to Quantum and instantly continue life in a parallel existence.
This is exactly why the Biblical Jesus says that "you are the light of the world" ,and that the "Kingdom of God is within you"
If you can ever bring yourself to turn away from superstitious religion you will see what wonderful sense this all makes.
Not only for you in this world but for you and your family in the parallel worlds.
Bill Donahue, Hidden Meanings
Computer analogy, since the Universe is a Giant computer, it only seems fitting.
Anyone who has reached this web blog is familiar with the internet, so let us use the internet as an analogy to understand the Secret Symbols of the ancients.
All symbols is like an internet web page with a free downloadable software that makes the symbols understandable.
If we can log on to the kosmic internet we can down load free software from the kosmic’s hard drive to our personal (ie, spiritual) hard drive. When the kosmic software downloads, it goes into either "executable" or "self executing" mode. Let us pause here because there are a number of issues:
How do we log on to the kosmic internet? Via the disciplines of study and meditation, and This is assisted by the kosmic web site diagram known as the Tree of Life.
How do we find on the web page the link to the free kosmic software? The particular symbol we are looking at, is a specific web page that has the program "zipped" inside it.
To help you find the link downloading that program we are writing commentaries over a period of time for each page of the Secret Symbols. These commentaries will lead you to the right link. Once we down load the program, it "unzips" on our spiritual hard drive if it is "self executing". We recognize this as an illumination experience.
How do we "unzip" the program so that it goes into "self executing" mode? Via the disciplines of study and meditation.
What if the program remains "executable"? As with computers, we must actively intervene and take further action in order to unzip and execute the program. How do we do that? You guessed it, the disciplines again.
What happens when we execute the program? We may get an enlightenment experience, but more likely, we need to do more spiritual work on ourselves. What work?
The Great Work consisting of the 12 Disciplines, the Reconciliation of the 7 Pairs of Opposites, the 7 chakras and the 3 Orientations to God. The Keys of the emerald tablet.
Elra's gardening & cooking blogs, and our recent, meaningful exchange.
Elra's Garden blog: I Am Seeing Red, Black and Orange
Above is a link to one of many photographic images I love by a blogger named Elra. Elra blogs about the gardening of flowers and fruit, but also her amazing cooking skills. She incorporates many of her own plants and foodstuffs into her cooking. Furthermore, the photos of her finished dishes could easily be published in a gourmet magazine. Please take a look at her blogs to see all of the amazing "eye candy" that constantly manifests there.
Just recently, Elra granted me permission to use her photos as material for my paintings and I am very grateful to her for that kindness. I am now very excited to begin painting some of her images, maybe in the next couple of days. Eventually, as I get those paintings started, and hopefully finish some of them soon, I intend to publish digital images of them here. Some of my favorite images from her garden are of blackberries and rasberries, and of a large white flower that I am mostly sure is an Iris; I'll determine that for sure later (maybe with Elra's help), but for now, that is the subject matter I am most attracted to in her photography, so that is what one might look forward to seeing here, in the nearer future, painted by me.
For anyone who doesn't know, I am presently enrolled in the final painting course offered for credit at my community college, entitled Painting III. This course allows the experienced art major to finally work in the art style or styles that he/she prefers. This is different from Painting I and II, where the students' subject matter and techniques are guided by the college's predetermined curriculum and the course instructor's overseeing eye. Thus, I find myself having a great deal more freedom in this advanced course than ever before. Notice I didn't say "find myself enjoying much more freedom" though? Well, that is only kind of a joke since it can be very daunting to paint when you have nigh unlimited freedom. Luckily, I feel Elra's permission to use her photos as subject matter will help to alleviate, or even prevent, much of the normal creative blockage from which I and other artists often suffer - the fear of making marks on that unapproachably white and impeccable canvas, for instance.
And again, for those of you who don't know, I usually do highly conceptual art pieces; these artworks often approach themes based on human communication and emotion, psychology, philosophy, morals and ethics, and other similarly deeper concepts. Moreover, these images are not always very aesthetically beautiful or pleasing (though I do hope I've rendered them well enough that they become pertinently interesting enough to behold, and for extended periods of time) and that lack of beauty, for the most part, is usually highly necessary and intentional. Thus, some viewers encountering my "darker looking" art may too easily determine that I am merely one of those artists who just selfishly "creates away" his/her negativity; making art mainly for the purpose self-therapy, in other words. The viewers most likely to judge my work like that, perhaps, are those who are either unwilling, or unable, to get their thinking and emotions thoroughly enough involved into some of my imagery to locate and realize some more profound meaning there. In other words, some folks just might not be able to see past the more obvious, negative facades, to witness some brighter hope. Yet, despite the fact that I do not intend that miscommunication, neither do I try too hard to prevent it. No matter what, I do hope most viewers will be able to fathom how my more negative pieces honestly do reflect and point towards a higher and brighter intent.
Therefore, my regular art style - or should I say irregular - is not always useful for all portfolio purposes. In fact, I have been needing to find some subject matter for making some art that is more approachable to the average audience; in other words, the general public. That is mostly because I have talked to the local Family YMCA a few times about teaching a painting or drawing course over the summer and just never felt comfortable showing that mostly positive institution so much of the difficult subject matter that I've completed throughout the past.
Thus, having more "traditionally beautiful material" to paint, as exists in Elra's photos, may even push me into the next energetic expression and more physical manifestation of my aritstic lifestyle, and that is as some kind of an art instructor.
Wow, is all I can say to that!
And, I do recognize and feel gracious for a certain connection between the willingness to share information, ideas, and images here, on Blogger, being translated into me allowing for more openness in all my social, professional, and academic lifestyles.
Mostly what I needed to say here is... I do recognize, welcome, and hold great reverence for the divinely pure energy that has gone into all of Elra's expressionistic creations and maintaining such a lifestyle. I willingly open myself up to receiving more of that type of energy from the Universe from innummerable sources.
I now better rocognize that a simple approach towards encouraging absolute openness with another artist, one whom is also open to sharing, or any type of human being for that matter, can be a powerful affirmation towards profound acceptance of the unforseeable future, in both my inner-life, and in all of my human relationships.
Thanks Elra, once again!
Above is a link to one of many photographic images I love by a blogger named Elra. Elra blogs about the gardening of flowers and fruit, but also her amazing cooking skills. She incorporates many of her own plants and foodstuffs into her cooking. Furthermore, the photos of her finished dishes could easily be published in a gourmet magazine. Please take a look at her blogs to see all of the amazing "eye candy" that constantly manifests there.
Just recently, Elra granted me permission to use her photos as material for my paintings and I am very grateful to her for that kindness. I am now very excited to begin painting some of her images, maybe in the next couple of days. Eventually, as I get those paintings started, and hopefully finish some of them soon, I intend to publish digital images of them here. Some of my favorite images from her garden are of blackberries and rasberries, and of a large white flower that I am mostly sure is an Iris; I'll determine that for sure later (maybe with Elra's help), but for now, that is the subject matter I am most attracted to in her photography, so that is what one might look forward to seeing here, in the nearer future, painted by me.
For anyone who doesn't know, I am presently enrolled in the final painting course offered for credit at my community college, entitled Painting III. This course allows the experienced art major to finally work in the art style or styles that he/she prefers. This is different from Painting I and II, where the students' subject matter and techniques are guided by the college's predetermined curriculum and the course instructor's overseeing eye. Thus, I find myself having a great deal more freedom in this advanced course than ever before. Notice I didn't say "find myself enjoying much more freedom" though? Well, that is only kind of a joke since it can be very daunting to paint when you have nigh unlimited freedom. Luckily, I feel Elra's permission to use her photos as subject matter will help to alleviate, or even prevent, much of the normal creative blockage from which I and other artists often suffer - the fear of making marks on that unapproachably white and impeccable canvas, for instance.
And again, for those of you who don't know, I usually do highly conceptual art pieces; these artworks often approach themes based on human communication and emotion, psychology, philosophy, morals and ethics, and other similarly deeper concepts. Moreover, these images are not always very aesthetically beautiful or pleasing (though I do hope I've rendered them well enough that they become pertinently interesting enough to behold, and for extended periods of time) and that lack of beauty, for the most part, is usually highly necessary and intentional. Thus, some viewers encountering my "darker looking" art may too easily determine that I am merely one of those artists who just selfishly "creates away" his/her negativity; making art mainly for the purpose self-therapy, in other words. The viewers most likely to judge my work like that, perhaps, are those who are either unwilling, or unable, to get their thinking and emotions thoroughly enough involved into some of my imagery to locate and realize some more profound meaning there. In other words, some folks just might not be able to see past the more obvious, negative facades, to witness some brighter hope. Yet, despite the fact that I do not intend that miscommunication, neither do I try too hard to prevent it. No matter what, I do hope most viewers will be able to fathom how my more negative pieces honestly do reflect and point towards a higher and brighter intent.
Therefore, my regular art style - or should I say irregular - is not always useful for all portfolio purposes. In fact, I have been needing to find some subject matter for making some art that is more approachable to the average audience; in other words, the general public. That is mostly because I have talked to the local Family YMCA a few times about teaching a painting or drawing course over the summer and just never felt comfortable showing that mostly positive institution so much of the difficult subject matter that I've completed throughout the past.
Thus, having more "traditionally beautiful material" to paint, as exists in Elra's photos, may even push me into the next energetic expression and more physical manifestation of my aritstic lifestyle, and that is as some kind of an art instructor.
Wow, is all I can say to that!
And, I do recognize and feel gracious for a certain connection between the willingness to share information, ideas, and images here, on Blogger, being translated into me allowing for more openness in all my social, professional, and academic lifestyles.
Mostly what I needed to say here is... I do recognize, welcome, and hold great reverence for the divinely pure energy that has gone into all of Elra's expressionistic creations and maintaining such a lifestyle. I willingly open myself up to receiving more of that type of energy from the Universe from innummerable sources.
I now better rocognize that a simple approach towards encouraging absolute openness with another artist, one whom is also open to sharing, or any type of human being for that matter, can be a powerful affirmation towards profound acceptance of the unforseeable future, in both my inner-life, and in all of my human relationships.
Thanks Elra, once again!
Giacometti's Drawings
Giacometti's Drawings
Some images of Giacometti's drawings that I like. This blog came into being so that I might talk briefly about my ideas and understanding of what made this artist's drawing methods so pertinent to my art style... "Why does his art resonate with me so much?" in other words.
Thus, I truly appreciate the way he presents angles and circular lines throughout his drawings. Some of these lines are almost "swinging" through the entirety of the picture plane. Whether these are foundational, or if he adds them later on, remains unclear to me. Still, these additions do wind up looking as if they are foundational, somehow. Most importantly, these sharply angular and swinging, curvilinear additions, can drive one's emotions beyond where your average drawing might.
The sorts of standardized, "cleaned-up profiles" and other pristine shapes one usually sees (or draws) in art (especially for this discussion, in still-lifes, human figures, and portraits)... well, it can be said that a standardized technique becomes more and more bereft of emotion, life, and singularity as the artist (through the image) seeks to please all that wider-conforming mindset of the "critical-thinking, collective consciousness" - not to be confused with its opposite, the Freudian "collective unconscious" which would own nigh infinite amounts more flexibility.
Somehow Giacometti's approach to life, his perspective being however skewed, allows him to supersede all those superficial impositions that we are all given, starting at the very earliest ages of our developmental processes.
.jpg)
Perhaps, Giacometti's relatively "unstable approach" towards life grants humankind a glimpse, and a gift...
.jpg)
... an uncomfortable look at the surreal nature of how "conformations" limit us. Perhaps by showing the negative extreme, he is even showing us a contrasting reality which might be possible, "if all our conformity were not robbing us of our singularity." This "alternate reality" is somehow, only implied in his art, and thus, it may need to be understood at a deeper, semi-conscious level than what our thinking minds can possibly comprehend. One might say that we see in Giacometti's work a warning-paradox and existential extent, something far better than what we have now... a world promising of creativity and freedom, even an approach, which could move us beyond the darker implications of the terribly immediate interpretations he offers the audience (validated in the lonely and wide-open atmospheres where his figures tirelessly work and exist).
However, maybe it is just my tendency to look for the good, beyond the bad, that makes me think that there was a greater message hidden beneath Giacometti's darkly moving images. Still... I will go as far as to say that I have a Soul that Knows more Truth than my Mind ever Will.
Peace.
Some images of Giacometti's drawings that I like. This blog came into being so that I might talk briefly about my ideas and understanding of what made this artist's drawing methods so pertinent to my art style... "Why does his art resonate with me so much?" in other words.
Thus, I truly appreciate the way he presents angles and circular lines throughout his drawings. Some of these lines are almost "swinging" through the entirety of the picture plane. Whether these are foundational, or if he adds them later on, remains unclear to me. Still, these additions do wind up looking as if they are foundational, somehow. Most importantly, these sharply angular and swinging, curvilinear additions, can drive one's emotions beyond where your average drawing might.
The sorts of standardized, "cleaned-up profiles" and other pristine shapes one usually sees (or draws) in art (especially for this discussion, in still-lifes, human figures, and portraits)... well, it can be said that a standardized technique becomes more and more bereft of emotion, life, and singularity as the artist (through the image) seeks to please all that wider-conforming mindset of the "critical-thinking, collective consciousness" - not to be confused with its opposite, the Freudian "collective unconscious" which would own nigh infinite amounts more flexibility.
Somehow Giacometti's approach to life, his perspective being however skewed, allows him to supersede all those superficial impositions that we are all given, starting at the very earliest ages of our developmental processes.
.jpg)
Perhaps, Giacometti's relatively "unstable approach" towards life grants humankind a glimpse, and a gift...
.jpg)
... an uncomfortable look at the surreal nature of how "conformations" limit us. Perhaps by showing the negative extreme, he is even showing us a contrasting reality which might be possible, "if all our conformity were not robbing us of our singularity." This "alternate reality" is somehow, only implied in his art, and thus, it may need to be understood at a deeper, semi-conscious level than what our thinking minds can possibly comprehend. One might say that we see in Giacometti's work a warning-paradox and existential extent, something far better than what we have now... a world promising of creativity and freedom, even an approach, which could move us beyond the darker implications of the terribly immediate interpretations he offers the audience (validated in the lonely and wide-open atmospheres where his figures tirelessly work and exist).
However, maybe it is just my tendency to look for the good, beyond the bad, that makes me think that there was a greater message hidden beneath Giacometti's darkly moving images. Still... I will go as far as to say that I have a Soul that Knows more Truth than my Mind ever Will.
Peace.
Alberto Giacometti Introduction.
Alberto Giacometti - 1901 to 1966
(Giacometti is often labeled as a Post-Dada sculptor)
(Much of the following history is excerpted from Wikipedia, though I've edited where beneficial)
Life and Career:
(October 10, 1901 – January 11, 1966)
Alberto Giacometti was a Swiss sculptor, painter, draftsman, and printmaker; born in Borgonovo (Switzerland), near the Italian border. His father Giovanni was a painter. Alberto attended the School of Fine Arts in Geneva.
In 1922 he moved to Paris to study under a sculptor who was an associate of Auguste Rodin. It was there that Giacometti experimented with cubism and surrealism and came to be regarded as one of the leading surrealist sculptors. Among his associates were Joan Miró, Max Ernst, Pablo Picasso and Balthus. In 1962, Giacometti was awarded the grand prize for sculpture at the Venice Biennale, and the award brought with it, worldwide celebrity.
Process:
Even when he had achieved popularity and his works were in demand, he still reworked models, often destroying them or setting them aside to be returned to, years later. From 1936 - 1940, Giacometti's sculpture focused on the human head (primarily on the model's gaze). However, that was followed by a unique artistic phase in which his statues became stretched out; their limbs elongated. Obsessed with creating his sculptures exactly as he envisioned through his unique view of reality, he often carved until they were as thin as nails and reduced to the size of a pack of cigarettes, much to his consternation. A friend of his once said that if Giacometti decided to sculpt you, "he would make your head look like the blade of a knife." After marrying his wife, his tiny sculptures became larger; but the larger they grew, the thinner they became. Giacometti said that the final result represented the sensation he felt when he looked at a woman.
Analysis of Giacometti's Style:
Giacometti was a key player in the Surrealist Movement, but his work resists any easy categorization. Some describe it as formalist, others argue it is expressionist or otherwise having to do with what Deleuze calls 'blocs of sensation' (as in Deleuze's analysis of Francis Bacon). Even after his excommunication from the Surrealist group... the end products (of his sculpture) were an expression of his emotional response to the subject. (In a way,) Giacometti attempted to create renditions of his models the way he saw them, and the way he thought they ought to be seen. He once said that he was sculpting... not the human figure, but "the shadow that is cast."
Scholar William Barrett in Irrational Man: A Study in Existential Philosophy (1962), argues that the attenuated forms of Giacometti's figures reflect the view of 20th century modernism and existentialism, that modern life is increasingly devoid of meaning, and empty.
( --- also, I have no idea who the following [wikipedia] statements are supposed to be from, though they might be from Giacometti, himself: "All the sculptures of today, like those of the past, will end one day in pieces... So it is important to fashion ones work carefully in its smallest recess and charge every particle of matter with life." ----)
(end of Wiki bio. info.)
In my opinion:
Giacometti has become a bit of a cult hero in the new Millenium, with images of the artist and his work featured in numerous modern video creations which can be viewed on the internet, at YouTube.
Furthermore, it is my opinion that Giacometti's verbal dialogues were often ambiguous and contained an element of the enigmatic, much like his artwork usually did, probably in the interest of causing a "minor stir" in the audience. For instance, he would talk about how the longer a model would sit for him, the more that person's face, but even his/her humanistic being, would merge into that of the "everyman"; even his own wife, he would state, began to become "unknown" to him, as an actual person, the more she would sit and model for him in the studio.
Whether he actually believed all these strange things that he would say, or not, doesn't really matter too much, and moreover, it all just adds to the "charm" if his personality. That may be a good way of describing him, that he was a "charmer", but in the magical sense, also. I pretty much believe that he was interested in sounding interesting, and the more one thinks this sort of acting-out can be useful and amusing, the more it changes you permanently in that direction. In other words, Giacometti's approach to speaking about his work could have made him fundamentally more eccentric and interesting, in the extreme - he basically changed himself into a more and more interesting person, because he may have begun to believe so much of the "wild" things he had to say about his work, and life in general.
Artchive's Brief Summation:
Giacometti was originally a surrealist sculptor, but returns to recognizable figural art, whose tortured surface suggests the tortured emotions of modern man. ~ Artchive
Website: http://www.artchive.com/artchive/G/giacometti.html
"Alberto Giacometti and a sculpture"
Alberto Giacometti vers 1955,
entouré de bustes de son frère Diego,
son modèle le plus constant -
Image Copyright © 2006 Estate of Alberto Giacometti - Artists Rights Society (ARS),
New York / ADAGP, Paris
(cf. Les Ateliers du Mac - Alberto Giacometti )
The following image of a sculpture group, I feel, is a hallmark for much of what the artist communicated. Just one aspect of these messages is relative to the world and our temporal occupation of "all this space" which surrounds us.
Alberto Giacometti
The Piazza
Bronze
1948-49
(Giacometti is often labeled as a Post-Dada sculptor)
(Much of the following history is excerpted from Wikipedia, though I've edited where beneficial)
Life and Career:
(October 10, 1901 – January 11, 1966)
Alberto Giacometti was a Swiss sculptor, painter, draftsman, and printmaker; born in Borgonovo (Switzerland), near the Italian border. His father Giovanni was a painter. Alberto attended the School of Fine Arts in Geneva.
In 1922 he moved to Paris to study under a sculptor who was an associate of Auguste Rodin. It was there that Giacometti experimented with cubism and surrealism and came to be regarded as one of the leading surrealist sculptors. Among his associates were Joan Miró, Max Ernst, Pablo Picasso and Balthus. In 1962, Giacometti was awarded the grand prize for sculpture at the Venice Biennale, and the award brought with it, worldwide celebrity.
Process:
Even when he had achieved popularity and his works were in demand, he still reworked models, often destroying them or setting them aside to be returned to, years later. From 1936 - 1940, Giacometti's sculpture focused on the human head (primarily on the model's gaze). However, that was followed by a unique artistic phase in which his statues became stretched out; their limbs elongated. Obsessed with creating his sculptures exactly as he envisioned through his unique view of reality, he often carved until they were as thin as nails and reduced to the size of a pack of cigarettes, much to his consternation. A friend of his once said that if Giacometti decided to sculpt you, "he would make your head look like the blade of a knife." After marrying his wife, his tiny sculptures became larger; but the larger they grew, the thinner they became. Giacometti said that the final result represented the sensation he felt when he looked at a woman.
Analysis of Giacometti's Style:
Giacometti was a key player in the Surrealist Movement, but his work resists any easy categorization. Some describe it as formalist, others argue it is expressionist or otherwise having to do with what Deleuze calls 'blocs of sensation' (as in Deleuze's analysis of Francis Bacon). Even after his excommunication from the Surrealist group... the end products (of his sculpture) were an expression of his emotional response to the subject. (In a way,) Giacometti attempted to create renditions of his models the way he saw them, and the way he thought they ought to be seen. He once said that he was sculpting... not the human figure, but "the shadow that is cast."
Scholar William Barrett in Irrational Man: A Study in Existential Philosophy (1962), argues that the attenuated forms of Giacometti's figures reflect the view of 20th century modernism and existentialism, that modern life is increasingly devoid of meaning, and empty.
( --- also, I have no idea who the following [wikipedia] statements are supposed to be from, though they might be from Giacometti, himself: "All the sculptures of today, like those of the past, will end one day in pieces... So it is important to fashion ones work carefully in its smallest recess and charge every particle of matter with life." ----)
(end of Wiki bio. info.)
In my opinion:
Giacometti has become a bit of a cult hero in the new Millenium, with images of the artist and his work featured in numerous modern video creations which can be viewed on the internet, at YouTube.
Furthermore, it is my opinion that Giacometti's verbal dialogues were often ambiguous and contained an element of the enigmatic, much like his artwork usually did, probably in the interest of causing a "minor stir" in the audience. For instance, he would talk about how the longer a model would sit for him, the more that person's face, but even his/her humanistic being, would merge into that of the "everyman"; even his own wife, he would state, began to become "unknown" to him, as an actual person, the more she would sit and model for him in the studio.
Whether he actually believed all these strange things that he would say, or not, doesn't really matter too much, and moreover, it all just adds to the "charm" if his personality. That may be a good way of describing him, that he was a "charmer", but in the magical sense, also. I pretty much believe that he was interested in sounding interesting, and the more one thinks this sort of acting-out can be useful and amusing, the more it changes you permanently in that direction. In other words, Giacometti's approach to speaking about his work could have made him fundamentally more eccentric and interesting, in the extreme - he basically changed himself into a more and more interesting person, because he may have begun to believe so much of the "wild" things he had to say about his work, and life in general.
Artchive's Brief Summation:
Giacometti was originally a surrealist sculptor, but returns to recognizable figural art, whose tortured surface suggests the tortured emotions of modern man. ~ Artchive
Website: http://www.artchive.com/artchive/G/giacometti.html
"Alberto Giacometti and a sculpture"Alberto Giacometti vers 1955,
entouré de bustes de son frère Diego,
son modèle le plus constant -
Image Copyright © 2006 Estate of Alberto Giacometti - Artists Rights Society (ARS),
New York / ADAGP, Paris
(cf. Les Ateliers du Mac - Alberto Giacometti )
The following image of a sculpture group, I feel, is a hallmark for much of what the artist communicated. Just one aspect of these messages is relative to the world and our temporal occupation of "all this space" which surrounds us.
Alberto GiacomettiThe Piazza
Bronze
1948-49
It is, however, highly problematic, in my opinion (Wayne's), to even attempt to verbally describe how Giacometti's art touchs the audience.
Still, it might be rarely determined that a certain writer might approach Giacometti's vision with a certain alacrity. The following links are to a blogger and philosophy professor, whose musings on Giacometti's art I found I was not "too opposed to"... "taking in to myself".
http://www.blogger.com/profile/13201959632754013134
http://ideasofimperfection.blogspot.com/2005/07/thin-men_11.html
(the following may have led me to the above fan)
http://www.youtube.com/watch?v=-rd6rGshfPM
Additionally, at YouTube, there is a video (rather "slow starting" in it's approach) which is about Giacometti's vision. This video offers one writer's heart-felt opinions about the artist, which are seemingly taken from a textbook; the reading itself is given to us by the maker of the video (I assume). This critical inspection itself is actually, highly poetic, and maybe even, rather charming, especially considering that it is about Giacometti's work which is so "dark", so often.
http://www.youtube.com/watch?v=PQRpoVcvy7Q&feature=related
So much of Alberto's ability to grab the attention of the viewer is caught up in the interesting motion of his "moving" figures. What does this ever-present "motion" symbolize? I think it should be left up to each individual fan, and may even be better off if this all goes unspoken.
Still, the following image of "the artist at work" may hint at some ambiguos and/or enigmatic implication.
Photograph of Alberto Giacometti
by Henri Cartier-Bresson
Giacometti, Alberto
"LHomme qui Marche II" (?)
Type: Reproduction
Rubrique: Courant Stylistique Art Contemporain
Format (cm): 80 x 60
Image Copyright © 2006
Estate of Alberto Giacometti
Artists Rights Society (ARS),
New York / ADAGP, Paris
(cf. Postershop.fr - Alberto Giacometti )
It is my impression that Giacometti's singular walking figures (such as the images that surround this statement) are much of what left his indelible imprint on humanity's subconscious (at least, those whom have experienced the artist's powerful work).
Giacometti, Alberto
"LHomme qui Marche" (?)
Type: Reproduction
Rubrique: Courant Stylistique Art Contemporain
Format (cm): 80 x 60
Image Copyright © 2006
Estate of Alexander Calder
Artists Rights Society (ARS),
New York / ADAGP, Paris
(cf. Postershop.fr - Alberto Giacometti )
Other info. to be investigated?:
http://www.chess-theory.com/encprd03238_chess_practice_reflections_debates_arts.php
(end of introductory blog)
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