Knowing

Abstract

This body of work titled “Knowing” explores trajectory of space and action as an intuitive development of reflection and reflexivity. It engages with internal reorientation for external navigation. The space, the work and the experience serve as charging points. The works explore space as a platform, laboratory, communion point, and living phenomenon that is poetic, infinite, generative, evolving and morphing, shifting, incalculable and non-linear, everything that is born of story. To do this, reflexivity as well as the processes of comprehension, perception, remembrance, and reflection are used. Drawing in this context refers to any available drawing medium or technique, as well as a broader idea of mark-making. It links phenomenological perspectives of its closeness to cognitive expression and spatial comprehension and perception. It serves as a tool for problem-solving, problem-coping, caring, and developing higher levels of cognition.

The interactivity of the presentation offers an opportunity to experience and apply theories of action, share deductions, and ponders on expanded narratives through experiential states. These are action-based theories of perception such as Rick Grush’s disposition theory that exonerates deductions and does not define perceptions. The effective participation or retreat through experience of the drawing installations engender the trigger element of memory for reflection. Memory here serves through its very many mischievous characteristics. This is in consideration that memory can change, mutate, be inserted, broken, expanded and so forth through the senses. Memory may not be explicitly interpreted however it is emphatically impactful as a functional element in forming judgment, perceptions, principles, notions and so forth.

The works incorporate intuitively generated or materialized shapes in space (often a dark space) that operate in a defined sphere of possibilities where formal temporal constructions are irrelevant. The nuances of familiarity impact internal calibrations for judgment and action are informed by conscious mental phenomena. This may be linked to concepts of the Enactive approach theory defended by Kevin O’Regan and Alva Noë who proffer that “a person will have encountered myriad visual attributes and visual stimuli, and each of these will have particular sets of sensorimotor contingencies associated with it. Each such set will have been recorded and will be latent, potentially available for recall: the brain thus has mastery of all these sensorimotor sets.“ Noe later expresses that “is that seeing depends on an appreciation of the sensory effects of movement (not, as it were, on the practical significance of sensation)…. Actionism is not committed to the general claim that seeing is a matter of knowing how to act in respect of or in relation to the things we see”), thus leaving an openness to apprehension, impact and affectation.

The project “Knowing” consists of “The Mediates” is a series of 200 mini mixed media collage drawings that overlaps memory clips and resonance ideations in multiplicity. It incorporates an interactive component that invites participatory action by the audience guided by a play on words. They bring progression and mutation through their intervention in the visual narrative. “Dune Whispers” is a performance drawing employing the shifting nature which both generates and degenerates of earth as a navigational space where change is continuous and re-imaginable. “Dimension” is a performance installation engaging transitional spaces and mark making as an unlocking of overlapping realities in collective and individual experience and exploration. “Under the Shadow” is a drawing sculpture referencing malleability of thoughts in the space of story. It engages the procedural in the generation and mutation of form through changes of light impression. The drawing sculpture is surrounded by “Spontaneous Undergrowth” in its installation which focuses on the ethereality and ephemeral quality of thought processes and the fragility and other times elusiveness of memory in the constructs of building orientation. “Multiverse” is a series of 60 drawings that serve as familiar triggers for reflection process. The unidentifiable yet familiar elements that make up the visual forms in the imagery present platforms for exploring material and psychological tensions within the multidimensional contexts of space that are both internal and external in both cognitive and cosmological contexts. The specific floor drawing “Emergence” is as short lived as its spontaneity of generation as it disintegrates with contact changing the image perceptions.