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.

 


 

EQUATION 2014

 “We photograph things in order to drive them out of our minds.”

-Franz Kafta

RachelWolfe_Equations_Low_1200

 

EQUATION, 2014. Photographic Print, Edition of 2. An image as material evidence of a philosophical theory – comparison simultaneously centralises topical similarities while decentralising the set, acceptance of differences strengthens the group and the reference remains unknown.

 

TEXT

A friend told me that equality is denial. I try to refrain from “is” statements as often as possible, but this one seemed relevant given the propagandistic use of the terms: equality and freedom.
 
Admittedly, I had no way of knowing how to articulate what I was making when I made the four exposures which make this quadrant image called: Equation After 2yrs of graduate schooling and 2yrs living abroad in what is considered one of the most equality driven societies in the world, I can make turn into words which was visually articulated. I would say then, the fashion in art these days for accompany text then services some kind of impulse to educate, or tell about, what it is we are seeing. That describing something, some how makes the encounter of nonsense make sense.
 
Each photograph was composed with the same materials in the referent (as in the real encounter in the real world), pavement, cloth, tar, formed in what I would find out upon researching made smooth again the cuts into the pavement. The scanned images then concealments of utility work. Band-aids for the underground structures which move the resources which modern life relies: water, waste, electricity.
 
In logic games, math, and computing, Logic (logos) serves as the basis of all that is (is, a word for reality, or realisation). So then, within a logic-based system, the business of telos services a design often residing in the ideology of the actions. The purpose, or an end, brings me to thinking about the colloquialism: Means to an end. Those who function based on a means to an end may claim logic in their actions and choices, but the fatal conceit in this mode of working is a form of denial. Denial is perhaps a strong word, maybe it is the premise of a supremacy on the principles or laws in nature. This of course a trauma when some dynamic earthy event transpires-natural disasters they are called. They are a disaster for things moving slowly, but not really some kind of disaster in reality at all. The disaster is part of our relationship to the natural, the unexpected, that we try to forget about not having sustainable power over. Remembering this may seem as an “of course” -why is that political leaders don’t remember this so much? I really wonder. Do they think they are god? or doing something valuable for others? Seems like that could be the case. I really don’t know.
 
Back to logos and logic-not to conflate the two, but to use the two as turning points in thinking. The constricting feeling of solely-logic based reasoning is not an accident. This mode of working has a sensory experience akin to entrapment, enslavement, double binding, or in other words-creating insanity out of otherwise sane people. For me, the more interesting part about looking at these, is the utter folly and sense of humor I experience from viewing them. To extract all of the real reference points, I see perspectives on some kind of other worldly band-aid. This could be due to the fact that in making photographs I often am making them for the index, so I can reference back later, and learn…what was it I was looking at. Why was I looking at it? Ant it was because I am interested in how things work, not on an instructional level, but on the level of a series of steps goes towards making a thing, and then that thing interacts with another, and so the result was not a matter of fact, but the byproduct of the process itself. The byproducts of the labor processes are visible everywhere. And contained in the byproducts, I have been able to document, and investigate the kind of thinking and labor that made the result which seems at once as a surprise to some, but if these dynamics are understood, are a total “of course”…and then becomes a kind of humor that is laughing at folly.
 
Laughing at folly, then a kind of twisted sadness and humor, the cynical humor popular today. This kind of humor, the laughing so as not to cry. Because somehow, the labor and efforts which go towards the conditions of living we are working for have built into them their own termination. And that, the aspect of the modern world that has built into it, its own termination, I see then, the underlying difference between humans, nature, technology, is no difference at all. There’s some kind of ending build right into the way things are. And so any forced dichotomy, idea that somehow technology and nature are at odds, that modern man is somehow at odds with nature, has roots in stories and lies. Because all that was, is, and will be, forever in their varying forms, are made by the laws and principles of nature.
 
Suppose this is why space research becomes interesting. And deep earthly digging research. The hunt for the visual evidence which can be researched and read for the underlying dynamics.
 
Hours, weeks, years, go into making the art, the research, and writing on this site. If you enjoy viewing the works and words on this site, consider contributing to my ability to pay for food, housing, and debts, the costs involved in maintaining this site, and the countless hours of effort:  www.paypal.me/atelierwolfe