The Era of Redemption, an age of entirety, Self-realisation and transition. This is the age in which we liberate our planet and ourselves.
Our work is not aimed as a specific audience. We make art for everybody. Art is for all, not the few. It is crucial for art to maintain the element of deliverance. Art must continue to step aside from social constrictions, to question the ideals predetermined by the culture industry and prevent standardisation.
Tighe-Mearns-Smith note that human race finds themselves in an age that is reliant on reason. Our post-enlightenment society has seen a huge development in science, rational thinking and logic. This conscious shift, from the mysticism of religion to the reason of science is marked as human progression. Tighe-Mearns-Smith note this progression; as we are able to take the belief systems of the past and deduce a rational set of laws that more accurately describe life through the eyes of science. However, it is at this stage we must ask ourselves, is pure reason the best tool to describe every aspect of human experience? Total reliance on spiritual mysticism did not create the most accurate window for human perception; is a reliance on pure science the ultimate view? The coin has been flipped to allow another set of limitations to be placed on the complexities of human life. Morality, decision making, emotional intelligence, duty, spirituality, freedom; here we find that reductionism and science are not the most suitable tools to enable a developed understanding of such common concepts. With this in mind Tighe-Mearns-Smith believe we should refer back to the original tools, that of myth, fables and tales. It is within the myth that a discussion of abstract concepts can be readily understood and contemplated. Whilst science prevails in allowing us to explore the physical make-up and structure of the universe and its laws, it cannot be used to deduce a concept that is simply immeasurable. It is through this mentality that psychoanalysis, philosophy, sociology, ethology and mathematics flourish. As we manoeuvre away from these stories we must beware of what lessons we devalue and exclude. Whilst it can be said that myth no longer holds such common ground in today’s society there is one platform in which these concepts are still made communicable; art. Art allows abstract ideas to be easily digested and through it we are able to regain a valuable tool for developing an understanding of the inner Self, human experience and our perception of life.
One of the most primitive and innate needs of humans is to understand the world around them and share that understanding. Scientists, artists and philosophers unite through specialising in that need to understand and describe the structure and behaviour of the universe. Together they create the three pillars of human perception, each of which are integral to its support. The subjects have varying methods and different traditions but the motivations are fundamentally equal. Scientists, artists and philosophers must be able to properly exert their concepts to the world, and they choose their tools accordingly. Some tend to favour the right side of the brain, that of emotion whilst the others are preferable to the left, that of calculation. The unity of these will unlock the gates of human perception.
Art holds an equal if not more impressive communicable function as language and in turn is able to be decoded and analysed with the same respect. Through the use of symbols, imagery, conceptual thought, mathematics and colour art is able to become a place to discuss real world topics as well as abstract concepts with exact thinking and reasoning. With this mindset the observer is able to participate directly within the ratiocination of art. Art holds the power to demonstrate the real waking world by systematically exhibiting a multi-level resemblance of natural laws and social politics; mimesis. Art creates a space to allow a conversation of abstruse concepts and affairs to be balanced and managed. The quality of art as a communicative function creates a relationship between the artwork and the observer. It is important to allow art the use of metaphorical visual language to become a podium of intellect, a symposium of consultation. With the use of these key components art is able to connect with the audience on both a conscious level and an emotional subconscious level simultaneously.
The shift in belief systems from religion to science has created a dramatic change in the dynamics of the human brain. The consequence of living in a society that is built upon either extreme is one which is unbalanced. This unbalance leads to a suppression of either the masculine side of the brain or the feminine, from holistic to analytical. Through this unbalance the ultimate potential of the human brain is not met. To reconcile, a middle ground must be formed. Reconnecting with archaic concepts that have been discussed since the dawn of the ancients will allow the inner self to balance absolute reason with unabridged Ontologism. This harmony is crucial for the redemption of both the psyche and the conscious brain. The utilisation of both sides of the brain is paramount for the liberation of the soul. We must combine the right sided apprehension of art through sensory and emotional stimuli, lateral thinking, that of holistic thought, imagination and spatial relationships with the left side of tightly linked neurons and proximate axons for analytics, detail, sequencing, logic, mathematics and linear thinking. For balance, we must meet in the middle as we utilise the corpus callosum. We must begin by learning from within ourselves. As we stare into that inner place where thoughts collide with emotion, the abyss teaches us the vehemence of the powerhouse, the core of the sapien. From here we must allow the unconscious to flow through the limbic structures, to come forth through the anterior commissure to the amyglada and temporal lobes and bring gospel of our emotional information up to the conscious. For art to truly connect with its audience it must be able to relate to these intricate parts of the brain. Through the use of symbols and the use of colour we are able to speak the language of the precommissure and spark reaction from the unconscious. With this in mind art is able to connect with our innate human drives: sexual desire, hunger, happiness, sadness, anger and fear. It is through this connection we can develop an intricate relationship between the id and the ego. This unity of the dual hemispheres will liberate humanity as we transcend to a masculofeminine sapien; the balance of masculine feminine energies, the next evolutionary step.
The use of these functions is cardinal as they save art from being lowered to a commodity. Art must be used as a vehicle for environmental, social and political change, a carriageway for conceptual thinking. Without the use of visual language in art it lowers itself to face value and commodification. Commodifying art has allowed profit to overshadow concept. The repression of conceptual thinking in art has a detrimental effect on the psychology of the individual which liberation is traded for superficialities. With the commodification of art we find identity through consumption, this creates a lack of real connection with the individual Self and with this comes a false connection to the psyche through a product; the product becomes the Self. Art should not be seen as a commodity.
This modern age allows us to utilise the technological advancements to spread concept and ideologies at a rate that has never been so capable. It is essential that we also remain confident with the skill of hand-craftsmanship. Without a hands on approach in the art world there is a separation between the artwork and the artist, and through this there is a larger separation between the artist and the audience. This separation depersonalises the art world which continues to leave art work temporary, disposable and without human touch. A harmony must be found between computerisation and human skill, just as the balance of masculine feminine is met; in an Aquarius form. Human touch is necessary for art as it proposes an emotional relationship with the audience as the process adds extra fascination as it is made by another human. This handcraftsmanship is crucial for allowing an instantaneous connection between artist, artwork and audience.
Colour has an equal importance as form, concept and medium. Whilst the latter three can engage the right side of the brain, it is with colour that the feminine energy flourishes. Through an uncapped use of colour theory as an integral part of the artistic process the dual hemispheres of the brain can unite.
It is a sad truth that the art industry has such a negative effect on the environment and we work to tackle this. The art industry sets itself a fast pace of production which is both unhealthy for the artist and unsustainable for the environment. We must respect the universe if we are to allow the arts to continue. We cannot liberate ourselves at the demise of the Earth and its inhabitants, this act is anti-art, for without the universe we too are nothing. To tackle this is of the up most importance and we should treat art as a sustainable outlet. Resourcefulness is key in our design. This is achieved through the utilisation of second hand materials and unwanted objects. Through the promotion of employing products that have been abjured, out of use or going to waste we are able to find a balance of creating new without the additional pressure for the continual manufacturing of products and supplies. The high demand of new products must be immediately reduced, these needs can be met by taking advantage of the multitude of resources we already have laying around, waiting for another life. It is through this mentality that we explore the use of unconventional materials. Appropriating unwanted products and wasted materials enables art to work as a vessel for positive environmental impact. Here again we find that balance is of upmost importance, found materials and products must be sought after and utilised at whichever stage is plausible.
KANE ARTHUR MEARNS-SMITH