STATEMENT

BIOGRAPHY is over on this page.

 

STATEMENT

I begin with a simple motive to add to the beauty in the world, and not to the disgraces. I felt an intrinsic pull into the arts from a young age and pursued several disciplines. Growing up surrounded by nature landscape and sounds, my imagination and senses were trained to rhythms in perceptions. The ways arts create knowledge focused my perception interests through proprioception and chronoception. Relating these aspects of perception to elemental wisdom, helps me make aesthetic and material choices.

 

The defining characteristics of what knowledge and reason are and do have pointed towards a few theories: histories happen on purpose, the metaphysical and material are related and the divide a myth, and the invisible senses of places make people.

 

As human life continues to morph through technologies and sciences, I noticed the effects of social policies of individualism forming separations. By focusing on a crusted layer of ideas, the deeper wells fed by forms of heartfelt beauty birthed crisis of psyche and emotion. Through the lens, literally,  historically, philosophically and psychologically, epistemologies became the way I could give structure to chronoception and proprioception to create multi-media installations involving vision and body.

 

In understanding psyche means spirit, the deployment of social policies through systems of thought exposed a covert conflict tactic. I personally maintain virtues and principles endure longer than emotions and ideas. While ideas and emotions employ an analytical and systemic approach, I worked to find ways to champion interests in traditions and rituals in service to healthy maturation of knowing. By working with embodied functions, I noticed the ways social policies morphed behaviours to create detrimental patterns. While bettering material conditions improves the appearance of life, the qualities of life that illuminate the mind from the beauty in the heart are where I work from, with, and toward. Therefore the nearly universal experiences of the sublime in awe and reverie, invited me to bring more value to the elemental wisdom in nature.

 

We become what we practice and develop where focus is laid. Therefore the Vision-Body relationship brought my work with cameras and poetry into the realm of the senses, the tactile and performed. The research of Elaine Scarry and Robert Sapowlsky gives words to what I believe people have awareness of deep within their bones.

 

Seeing the body as the generative force in cognition takes up a biological way of reasoning. Biology already being physical, informs materials and perception. This bottom-up perspective often confronts the top-down route (ideology). The bottom-up understanding affords greater agency in creating beauty and harmony as mother nature ultimately runs this show regardless of ideological understandings or misunderstandings. An ideologically driven or bottom-down motive has merit as well, though as defined clearly in Hito Stereyl’s work, a favoured mode of psychological warfare.

 

In a world mitigated by telematic interfaces, I persist in making art because of its unique ability to work on subtle layers of culture. While culturally antagonistic trends in art continue, I work to serve those seeking vitality, beauty, healing, harmony, and truths. Since truth is a touchy word, here’s an example: a notion humans are born and leave alone denies the reality there are usually a mother and father and supporting group of people involved in various capacities throughout the process. The notion of aloneness pervades social policies deployed in subtle and persistent methods through media, professionals, and often culture. Therefore, art’s purpose and place in creating knowledge stronger than ideas, can  nurture the psyche with truths, that water the heart with beauty.

 

After years of wrestling with images and questions with free-will, determinism, subjectivity, and agency, I saw an entry point through technology and sciences to reorient my visual work materially and performatively in joining images, magnetic resonances, performance, and textiles. The project has a working title of Magnetics In-Material and serves to create a common ground for people who live in places and can relate with each other through seeing and sensing tactilely, the invisible and eminent energies of elements.

 


 

Facts Are Boring and Useful

This past few months, I was hired to write four factual articles. In this experienced I noted two key qualities:

Quality 1. Writing about facts requires effort in checking, re-checking, and re-checking the checking to make sure the facts are up-to-date and cited. Writing about opinions and various perspectives, with use of metaphors and stories requires much less effort. Mind you my cognitive efforts are largely practices in divergent, intuitive, critical thinking for a creative process. Those trained in linear or algorithmic forms of thinking may find fact based writing to require less effort.

Quality 2. Writing about facts involves presenting useful material exempt from personal persuasion tactics. Writing without personal persuasion tactics requires several points of view to be considered while retaining the author’s original voice. The result offers the reader autonomy to decide the best course of future choices for themselves and does not attempt to point or spin the person in a direction the author desires. Such attempts are considered bias and are mentally limiting the reader in the exclusion of information, facts, or perspectives.

In considering these two noticeable qualities, I began to see the contemporary state of media and news as having defended the means to make Quality 1. underfunded or unfunded, and devoid of freedom such as in Quality 2. as media writing attempts to sway people one way the other on a prosed problem or issue.

This style of writing based on persuasion reminded me further of sales-pitch writing from my days as a copywriter. Language can be a powerful tool for convincing people how to think and behave, but language can also be a tool for powerful critical thinking.

For this exercise, I will convey a non-thinking exercise as a proposed routine for you, reader, to do your own thinking and not be swayed by misinformation or persuasion, as a means to weigh reality based on information consistent over time.

Stop.
Look.
Ask.
Think.

Come back and do the process until all the nonsense falls off the page, and see how much reality matches what is written or not.

Consider how much value you would experience in your life had you been offered quality information, and consider paying for services, content, and other ways people rely upon to earn a living.

Consider the cost of excitement, there are great riches in the realms of boredom, great chasms of interest, life, and love.

Please add your proposed steps in the routine, experiences, and results to the comments, or not of course. As one time things used to go without saying, now the internet has given the steam lever to say everything.

Sifting Randomness

There are two pieces of advice gathered in the past 17 years I would like to share here.

“Learn Mandarin.” 

This was the advice I was given as I looked over the edge of Viktor Frankl’s, Man’s Search for Meaning, on the Blue Line ride from Randolph Street copywriting job back to my studio apartment on the borderlands of Wicker Park, Bucktown, and Logan Square -Chicago neighbourhoods undergoing their facade lifts and rent spikes. He spoke to me more, and with increasingly detailed explantations about his economic and stock market research. From the smell and looks of things on his side of the train, a bath or sewn closed shoes hadn’t exerted his mind. The intensity at which he conveyed his messaged showed his focus wasn’t on hygiene as much as it were on sorting impending disaster, however real or imagined. I folded my book about finding meaning in my lap to listen, as I had been leaning through a snippets of Nietzsche. I was briefly alleviated from understanding trauma by tuning into his presentation. The man assured me before departing a stops before mine, to learn Mandarin if I wanted to survive the future. 17 years later I would recount this story to friends in a cafe in Norway, pondering life’s choices-filled by the understanding meaning as fully constructed form of social exchange and language a means of navigation through the maritime age of land living.

 

“Exercise the demons.” 

Every night no matter where I have lived, I walk, at night. Everyone I meet, save for a few, tell me how dangerous this is, and how I must be inviting myself to harm. I’ve always found the evening stroll healthy for my mind, and better for my body. Aside from the immediate benefits, I am permitted to witness sage stray animals take off with their bounty, learn the limits and expand the range of my audible sensation, and attune the hair on the back of my hand impulse of whether the dark is safe or not. Looking both ways before crossing is important day or night, and one night I had looked left then right, and began to cross I heard the bell out of the dark, from the left-and a wavy haired man on a bike exclaiming, “You’ve got to exercise those demons.” Indeed, night or day, movement sets our bodies and minds from from all the memories and ideas that trap us in our homes.

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12 Februar 2018. Oslo, Norway

R Wolfe