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Loops
His Master's Voice
DATA
Title: His Master's Voice
2022 | GIF | Dimensions: 1000 x 419 pixels | Series: Personal Hieroglyphs
CONTEXT
His Master’s Voice is part of a series of digital works in Personal Hieroglyphs series. Like the other works in this series, the subject of this piece is the physical and conceptual separation of the ideas of language, meaning, and the relationships between human perception and tangible reality.
This work consists of a collage of photographic and digitally composed elements. At the center of the image is the “eye” block— separated from the rest of the face and rendered in black and white. Originally sculpted in clay, it is given just enough detail to appear as realistic but is visibly unfinished and has several distortions invoking the idea that it is not perfect, flawed, perhaps in the middle of its evolution and yet-to-be formed.
The eye-block is set in a black field that is of the same dimensions as the physical works in the series, with the excepting that this field is “framed”. Frames have been used for centuries. A frame is a guide. It attracts attention and focus. Created from a photograph of a clay model and digitally mashed up, the psychological significance of the frame is evoked.
The third element of this loop references is another work called “And all is night.” With one hand missing and the other outstretched as if pointing or commanding the eye where to look, this element is the visual personification of instinct and conditioning.
The three major elements are set in a flickering field of light and shadows — shadows resemble those made by trees, and flicking that of lightning in a stormy night.
Title: His Master's Voice
2022 | GIF | Dimensions: 1000 x 419 pixels | Series: Personal Hieroglyphs
CONTEXT
His Master’s Voice is part of a series of digital works in Personal Hieroglyphs series. Like the other works in this series, the subject of this piece is the physical and conceptual separation of the ideas of language, meaning, and the relationships between human perception and tangible reality.
This work consists of a collage of photographic and digitally composed elements. At the center of the image is the “eye” block— separated from the rest of the face and rendered in black and white. Originally sculpted in clay, it is given just enough detail to appear as realistic but is visibly unfinished and has several distortions invoking the idea that it is not perfect, flawed, perhaps in the middle of its evolution and yet-to-be formed.
The eye-block is set in a black field that is of the same dimensions as the physical works in the series, with the excepting that this field is “framed”. Frames have been used for centuries. A frame is a guide. It attracts attention and focus. Created from a photograph of a clay model and digitally mashed up, the psychological significance of the frame is evoked.
The third element of this loop references is another work called “And all is night.” With one hand missing and the other outstretched as if pointing or commanding the eye where to look, this element is the visual personification of instinct and conditioning.
The three major elements are set in a flickering field of light and shadows — shadows resemble those made by trees, and flicking that of lightning in a stormy night.
His Most Prized Possession
DATA
Title: His Most Prized Possession
2022 | GIF | Dimensions: 1000 x 419 pixels | Series: Personal Hieroglyphs
CONTEXT
What is perception?
What do we perceive?
How do we perceive?
What do we NOT perceive?
What are we missing out?
How do we relate to what we perceive?
His Most Prized Possession is an investigation into these and many more fundamental questions on our relationship with reality on the outside and how we define ourselves on the inside.
Consisting of a solid cone form that shifts and twitches in a field, it however constantly occupies center stage, all focus and all attention.
The solid cone is made from concrete and represents the perceptual bubble (I prefer to view it as a tunnel) that we are all destined to live our own lives in. Like the cones of light created by the headlamps of a car that is travelling its path through a still and black night we can only perceive everything that falls within and inside this cone, and can only imagine (and usually disregard) and are oblivious to what lies beyond. But there is a beyond. The car itself is supported by it. And this beyond-reality has supported countless other people trapped inside their perceptual, conical tunnels. This “tunnel” is essentially everything we know — our own individual world, the way we sense and experience it.
Title: His Most Prized Possession
2022 | GIF | Dimensions: 1000 x 419 pixels | Series: Personal Hieroglyphs
CONTEXT
What is perception?
What do we perceive?
How do we perceive?
What do we NOT perceive?
What are we missing out?
How do we relate to what we perceive?
His Most Prized Possession is an investigation into these and many more fundamental questions on our relationship with reality on the outside and how we define ourselves on the inside.
Consisting of a solid cone form that shifts and twitches in a field, it however constantly occupies center stage, all focus and all attention.
The solid cone is made from concrete and represents the perceptual bubble (I prefer to view it as a tunnel) that we are all destined to live our own lives in. Like the cones of light created by the headlamps of a car that is travelling its path through a still and black night we can only perceive everything that falls within and inside this cone, and can only imagine (and usually disregard) and are oblivious to what lies beyond. But there is a beyond. The car itself is supported by it. And this beyond-reality has supported countless other people trapped inside their perceptual, conical tunnels. This “tunnel” is essentially everything we know — our own individual world, the way we sense and experience it.
Picture this...
DATA
Title: Picture this…
2022 | GIF | Dimensions: 1000 x 419 pixels | Series: Personal Hieroglyphs
CONTEXT
Further to our investigation into the concept of human perception, language and psychology, Picture this… proposes a simple challenge to the viewer: to step outside of their own perceptive bubble and observe the nature of it, observe it — if this is indeed at all possible.
If it is (this work also raises the stakes, in a manner of speaking), the following questions the ephemerality of this new perception:
• is the cone moving in space and through time, Or…?
• is the viewer (as though sitting inside the compartment of a moving, coughing locomotive) the one looking out through the black window watching cone pass by?
Like the other works in the Personal Hieroglyphs series, this one too consists of a solid cone form that constantly occupies center stage inside each of us, commanding all focus and all attention all of the time.
Significance of the Solid cone: The white cone is an image of one made from concrete and represents the perceptual bubble (I prefer to view it as a tunnel) that we are all destined to live our own lives in. Like the cones of light created by the headlamps of a car that is travelling its path through a still and black night, we can only perceive everything that falls within and inside this cone, and can only imagine (and usually disregard), and are oblivious to what lies beyond. But there is a beyond. The car itself is supported by it. And this beyond-reality has supported countless other people trapped inside their own perceptual, conical tunnels. This “tunnel” is essentially everything the individual knows — our own individual world, the way we sense and experience it.
This GIF image is a combination of photographic and digital elements that softly stutter, flicker and shift. The white cone crosses a field of black (the window) that is of the same proportions as the physical work in the series.
Title: Picture this…
2022 | GIF | Dimensions: 1000 x 419 pixels | Series: Personal Hieroglyphs
CONTEXT
Further to our investigation into the concept of human perception, language and psychology, Picture this… proposes a simple challenge to the viewer: to step outside of their own perceptive bubble and observe the nature of it, observe it — if this is indeed at all possible.
If it is (this work also raises the stakes, in a manner of speaking), the following questions the ephemerality of this new perception:
• is the cone moving in space and through time, Or…?
• is the viewer (as though sitting inside the compartment of a moving, coughing locomotive) the one looking out through the black window watching cone pass by?
Like the other works in the Personal Hieroglyphs series, this one too consists of a solid cone form that constantly occupies center stage inside each of us, commanding all focus and all attention all of the time.
Significance of the Solid cone: The white cone is an image of one made from concrete and represents the perceptual bubble (I prefer to view it as a tunnel) that we are all destined to live our own lives in. Like the cones of light created by the headlamps of a car that is travelling its path through a still and black night, we can only perceive everything that falls within and inside this cone, and can only imagine (and usually disregard), and are oblivious to what lies beyond. But there is a beyond. The car itself is supported by it. And this beyond-reality has supported countless other people trapped inside their own perceptual, conical tunnels. This “tunnel” is essentially everything the individual knows — our own individual world, the way we sense and experience it.
This GIF image is a combination of photographic and digital elements that softly stutter, flicker and shift. The white cone crosses a field of black (the window) that is of the same proportions as the physical work in the series.
Dyscalculoid
Trials of the Individual
The Funeral
The Ascension
The Temptation
The Seven Year Nightmare
Flashbulb Memories
Symbolic Deed
Tribute
Symbolic Thought
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