Diptychs, Triptychs and Polytychs (Open Thread)

[Ernest]

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[Ernest]

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[Ernest]

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[Ernest]

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[stray cat]

Rog, is it just me? I'm increasingly seeing what's come to be known as DNA sequencing in some of your vertical arrangements. Are these actual nascent life-forms that we're witnessing? And in Double Blibber you've thrown everything on its head and turned the corner. How can this be? It looks quite literally like something I could pick up off the screen. And talk about violating the tyranny of the rectangle! The cumulative effect of these beautiful and disparate works is really quite mezmerizing.

[Ernest]

Thanks a heap for your applause, but I am going to plead "temporary insanity" for much of what I'm doing, knowing full well that artistic insanity may provide the Baedeker back to sanity (if that isn't ground for an oxymoron on the fly). It's all crazy, and we're just trying to have fun in the moment, particularly at the arc of this perilous time. Should art be an escape or head-on collision? Artists, as we appreciate, are the antennae of civilization, privy to language/non-language that expresses intersections on a road map without roads. You are evidence of this in your own work, which invites some serious excavation to appreciate the variegated strata of meaning in your art. It's not just what's there but what isn't there that makes your art so challenging and reflexive/self-reflexive. I don't know how many Hollywood lookalikes you have, but they certainly pop up in so many conversations on so many levels, so entertaining and informing.

[Ernest]

On ‎3‎/‎26‎/‎2020 at 2:16 AM, stray cat said:

Rog, is it just me? I'm increasingly seeing what's come to be known as DNA sequencing in some of your vertical arrangements. Are these actual nascent life-forms that we're witnessing? And in Double Blibber you've thrown everything on its head and turned the corner. How can this be? It looks quite literally like something I could pick up off the screen. And talk about violating the tyranny of the rectangle! The cumulative effect of these beautiful and disparate works is really quite mezmerizing.

Sad day that Penderecki passed away at 86. So Polish!

[Ernest]

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[stray cat]

Well there’s certainly ample proof in these pages that one doesn’t need to stray too far from self-immolation (sic) in order to create wonderful art - it’s how those reasonable motifs are viewed and appropriated that sounds the gong. And exercising the mind to assemble something new, challenging and aesthetically pleasing from relatively ‘to-hand’ materials sounds like a very useful exercise when other forms of creativity are perhaps in abeyance for the foreseeable. 

[Ernest]

1 hour ago, stray cat said:

Well there’s certainly ample proof in these pages that one doesn’t need to stray too far from self-immolation (sic) in order to create wonderful art - it’s how those reasonable motifs are viewed and appropriated that sounds the gong. And exercising the mind to assemble something new, challenging and aesthetically pleasing from relatively ‘to-hand’ materials sounds like a very useful exercise when other forms of creativity are perhaps in abeyance for the foreseeable. 

Well, we dig into our morgue of collected work and, surprise, breathe new life, unanticipated, re-reading images from the past in the present, breathing in the past.

Thanks so much, Phil, for your commentary and always energetic perspective. You have the rare facility of launching a very creative arc in your thinking. Pairing Bar Code with Pink Floyd in the other thread is just genius. Perhaps you were considering launching a new thread that marries image with music/sound? 

[stray cat]

A new thread? When I have all this territory to myself? Mwahahahaha! Today music to photos - tomorrow ze WORLD! MWAHAHAHAHAHA! 😈

It is a wonderful thought, isn't it? - that the photos reside there like patient friends, or a good faithful old companion dog, and are always happy to see you when you flick through the pages of your slides or negatives or whatever. Saying "Look at me now!" Even ones you've neglected forever. And then they might suggest to me "Combine me with this or that other picture - you know, that one from forty years ago - and see how we look together". I've been kind of theming (unconsciously, it's only now that you mention it that I see what I've been doing) colour blocks - pictures with big reds, others with big blues. Which is interesting in itself. Why have I been doing that? I have no idea, but I'm finding it amusing in the moment.

A Polytych NOW! I say. Seeing what you've done with (I presume) your local haunts around the lagoon in Arrow Triptych is incredibly inspiring. Back, Again, too, is so well considered and constructed. Revelations from the morgue - sounds like an Ed Wood movie - but these revelations really do reveal!

Edited April 5, 2020 by stray cat

[Ernest]

16 hours ago, stray cat said:

A new thread? When I have all this territory to myself? Mwahahahaha! Today music to photos - tomorrow ze WORLD! MWAHAHAHAHAHA! 😈

It is a wonderful thought, isn't it? - that the photos reside there like patient friends, or a good faithful old companion dog, and are always happy to see you when you flick through the pages of your slides or negatives or whatever. Saying "Look at me now!" Even ones you've neglected forever. And then they might suggest to me "Combine me with this or that other picture - you know, that one from forty years ago - and see how we look together". I've been kind of theming (unconsciously, it's only now that you mention it that I see what I've been doing) colour blocks - pictures with big reds, others with big blues. Which is interesting in itself. Why have I been doing that? I have no idea, but I'm finding it amusing in the moment.

A Polytych NOW! I say. Seeing what you've done with (I presume) your local haunts around the lagoon in Arrow Triptych is incredibly inspiring. Back, Again, too, is so well considered and constructed. Revelations from the morgue - sounds like an Ed Wood movie - but these revelations really do reveal!

It is certainly a field that can be plowed in many directions, perhaps intersections, and that the harvest may be anomalous will be the art of it all. Single photographs, like what you did with Bar Code, certainly gives a slant to emblematic thinking, which I've mentioned in the past. An image paired with sound is the architecture of the Renaissance device and its epigram, the graphic image and its poetic (interpretive) commentary. It's an interpretive overlay that prompts a dialogue in the "reading" that produces a kind of amalgam that doesn't privilege one over the other, but rather a union of sorts that is unique. As you point out, the polyptych series of images becomes animated. I am reminded of Walter Murch's approach to what he called sound design, not simply sound recording, for the motion picture where he creatively orchestrates sounds and sound effects almost like a symphony. This means that the sounds, which may be music, play in counterpoint to the image(s), like the basso continuo of a fugue. That much I remember from my History of Music professor, Thomas Schultze! Music, particularly at your  level, is certainly out of my wheelhouse. Your instant replay of things musical is dazzling. I suspect that Alex is a beneficiary of some of that DNA?

Art and music has a venerable history of experimentation, and dance and performance art has worked their way into the mix. I listened to Bill Frisell's "studio album" published to accompany Gerhard Richter's 858, and I must admit that I probably should have pulled the 858 abstract painting prints to experience the visual coupled with the aural because I was challenged to connect the two in any meaningful way. Frisell started with dissonance that segued into strings harmony, but I kept hoping for a spark that would marry the visual/aural. Richter did a series of paintings in response to John Cage, but I can't remember whether or not there was anything of Cage, himself. Rather, Richter was responding to the novelty/innovation of Cage. I get what Storr is talking about in his commentary on the Cage paintings, that Richter is creating the "visual equivalent" to Cage's "audio texture." All right, now to construct the connection, I need the Cage piece(s), please.

Chris Marker co-directed Resnais's Night and Fog in 1955, then directed La Jetee in 1962. The still image + music not as background but having its own voice.

https://www.gerhard-richter.com/en/videos/works/the-cage-paintings-40

BTW I am enjoying your run of outstanding, inspiring images you're posting. Heavily saturated colors! More, more!

Edited April 5, 2020 by Ernest

[Ernest]

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[Ernest]

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