STATEMENT

STATEMENT

I start with a simple motive to add to the beauty in the world, and not to disgrace. It sounds easier than it has been. I endured decades of ridicule, the kind of words against words that are so often to prove, and now seem such a significant waste of energy. I work to understand nature, let go of beliefs and connect deeply within my body, so that other peoples’ bodies can also connect with a resonance that reminds them of their benevolent power to contribute to the beauty in nature.

 

Everything in nature has revealed itself to be about structure, dynamics, and relationships. The way these relationships had played out with humans span tensions such as grandeur and abjection, brutality and cleansing, ignorance and power. By diving into the nature of desire and studies in epistemologies and ontologies of becoming, I began to understand the roots of these tensions, functions of conflict, and the unrelenting necessity of beauty.

 

The relationship between Vision and Body has propelled my artistic activity. I see the body as the generative force in cognition. I think about Biology as the driving force of logic. This bottom-up vision has a different way than the top-down (ideology-in) route. The difference in the movement arising from this bottom-up understanding is the way I came to understand motive and reasoning in harmony with life. This understanding allows the body to understand beliefs, propaganda, and incoming sensory stimuli to be ‘seen’ as aggregated impulses. These aggregates create illusions, imaginations, motives, and structures that seem immovable due to their location in mind. When ideas are the driving force of a body, it is like the body is held in a trance-beam, performing actions. The body becomes a deployable agent, instead of a life with its own volition. People tend to fear the bottom-up orientation due to fear-based beliefs about human motives and eventual outcomes.

 

Art transforms, as a labor and relationship between the viewer and all the motives in the viewers’ lives. As an artist, working with ideas is not enough; the ideas must connect with heart. Conception for any work always is sourced from a specific quality. In my work, that is in resonance. This resonance must be whole, nurturing, healing, benevolent, with a sense of reverie-a subtle difference in awe from naiveté and awe from respect. The resonance is a tactile quality, that can be felt and held in sense, heart, and mind. Allegorical themes are key, and guide me through history to reveal the patterns humans repeat through various epochs. There can be an agreement in which the vision humans compound upon the nature, leads to where we are today, with the formation of humanlike structures which mirror, but do not replicate life itself. A mirror is a very different function than a vision, or a reflection. Many of my artworks serve as proofs of these findings.

 

Since humans with access to technology and industrialisation live with more resources than they know what to responsibly do with, increased demands and comparisons between machine and robotic labor, the realms about intelligence and belief constructs have expanded.

 

Decades before I was born, art was all about ideas. I also want to know what ideas create what outcomes, and how to responsibly create forms. Artists have done this past, and many critique this as an impossibility. Perhaps more accurately it is an improbability, depending on how far out in the development the sensory body has become with the individuals “I” or self. But the contexts have changed. By deconstructing cultural values, I look for the ideas and motives that support life. While I found some small traces of benefit from progressive agendas, I found more pain and suffering, as the motives were rooted in pain and suffering themselves.

 

To create from a different space, requires a different stance. One that would be risky. This middle way, stands to reveal the myth between the psychological and physical divide. As many have said, as above, so below, then it is often the beliefs and ideas that dominate the body, and come in through media and communication to subtlety work on the body. And so I work to make immersive experiences, so viewers can feel for themselves, in their body, some input that connects with a resonance in nature. This resonance serves to sever the stream of controlling beliefs, and instead leave the viewer with themselves. As we are born and leave alone is an idea. A human is actually born from a mother and father still. The impulses to the mother inform the life prelanguage and for several years. So as the idea of aloneness pervades the psyche, so deep as to touch the soul, it is also based on a myth. The connection we forget to life, is that this connection extends lineages, and we are born free but immediately formed by others. As every human basically reaches to become self-actualized, the culture we live in do not support this transition in any kind of meaningful way. Art can serve as this support. As the goal is to not indoctrinate or manipulate life, but to instill understanding of what in nature and life is benevolent and beautiful.

 

Having an artistic background in dance and piano, and education in interior design and advertising, I approach the work skeptically and scientifically through hypothesis and tests with various elemental processes. Generating theories, about how the terrain informs motive and behavior, and the ways cultures manipulate bodies with ideas and information. My goal is ultimately to make spaces, experiences, and stimulation to give people a memory of the inherent freedom and love they are born into the world with, regardless of the material conditions. To reveal the dynamics in subtle differences, and convey historical memories, for a way the reverence of the nature we are ultimately fully connected with, in all the ways nature has become coded and created-in -and-with technology.

 

The material has become part of my work in my mid-30s now, as my work transforms through mediums, to become tactile. I saw at a certain point, the ideas and motives supportive of life, and to fairness in labor and creating, come through materials. After years of turmoil, self-subjugation, ideologies conflicting with my biology, environmental toxicity, autoimmune disease, and an incident that could have caused blindness, I decided to reorient my artwork. Slowly transitioning from an image-heavy and detailed computer use, towards realising the art resonances in sculptural and textile projects.

 


 

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