oops. a couple edits on the abstract. I hope this works for an abstract.
The associations between oftentimes seemingly disparate concepts, forms, models, and theories are intriguing, fascinating to me. They seem like clues to a larger, vast picture or puzzle. I am as of yet not quite sure of the exact core point of this vast picture or puzzle, just as I am not quite sure of the exact central core of this thesis project, or my painting and art in general, as it is all continually moving forward. Does this finite point simply not exist? Or rather, is it one among many, in an infinite cycle? Does the end of time and space cycle back to the beginning, or lead to some other subsequent time and space, the one potentially feeding into the next (such as we see with self-similar fractal forms)? Is this core which we seek, which I seek, actually Infinity itself? In which case, the concept of a core and central, fixed point, is somewhat negated, and the passageway itself, the journey through it into ever vast and expanding realms, becomes of utmost and underlying importance.
I have indeed discovered throughout the process of creating this thesis work that it is less about a finite point of arrival, but of course, very much about the nature of the passageways themselves, and one’s engagement with, movement in relation to, and existence within them. Ultimately, it is an experiential journey.
Whether or not the viewer is ultimately transformed or deeply affected through her or his experience with my work, (such as the lovers in Mozart’s The Magic Flute* , or the Pharoah as depicted in the Ancient Egyptian Amduat), I hope that they at least enjoy the ride.
*At the end of this musical composition, lovers enter a passage and emerge as different beings.
I have indeed discovered throughout the process of creating this thesis work that it is less about a finite point of arrival, but of course, very much about the nature of the passageways themselves, and one’s engagement with, movement in relation to, and existence within them. Ultimately, it is an experiential journey.
Whether or not the viewer is ultimately transformed or deeply affected through her or his experience with my work, (such as the lovers in Mozart’s The Magic Flute* , or the Pharoah as depicted in the Ancient Egyptian Amduat), I hope that they at least enjoy the ride.
*At the end of this musical composition, lovers enter a passage and emerge as different beings.