22nd Coca Annual Juried by
Gary Hill on Display at Seattle Design Center Gallery through February 24,
2012
At the Dec. 29 opening of CoCA's Annual Juried Exhibition, in
front of a near-capacity crowd, guest-juror Gary Hill announced his selections
from the group of 16 international finalists, focusing on work that he felt was
especially challenging to view:
First prize went to Swedish new media
artist Conny Blom for a sound piece capturing four minutes and 33 seconds of
studio silence both before and after recording sessions.
Second prize
went to Sara Overton, a visual artist from Olympia currently living in New
York, for a 5" x 7" oil pastel on wood and board.
Three honorable
mentions included two local artists (installations by Sean Johnson, mixed media
work by Sabe Lewellyn) and Erin Endicott, a fiber artist from the east coast
working with antique baby clothes. The exhibit also features five video works
from Greece, Germany, Oregon, and Texas among other fascinating artworks that
represent Hill's 16 selections from a submission pool of over 150. Gallery
hours are M-F, 9-5, at CoCA's Georgetown Gallery in Seattle Design Center's
Atrium Building, Suite 229, 5701 6th Avenue South, Seattle WA 98108.
Read Jen Graves' review in The Stranger, February 1,
2012.
Read Gayle Clemans' review in the Seattle Times, January 13,
2012.
Artists include:
Sara Overton, New York City;
Julia Oldham, Eugene; Sean Johnson, Seattle; Christopher Steadman, Berlin;
George Drivas, Athens; Cheryl Yun, Wilton (CT), Erin Endicott, Port Republic
(NJ), Bjoern Drenkwitz, Frankfurt; Jérémie Baldocchi, Le Bourget
(FR); Conny Blom, Landskrona (Sweden); Ida Rödén; Inguna Gremzde,
Ogre (Latvia), Sabe Lewellyn; Alyson Ogasian, Culver City (CA); Bean Gilsdorf,
San Francisco; Barna Kantor, Austin (TX).
More on guest juror Gary Hill:
Internationally recognized for the broad scope of his work, ranging from
media arts to sculpture, from installation to poetics, Gary Hill has explored
the ineffable relationship between text, sound, and image for nearly 40 years.
In March, 2012, Gary joined the CoCA Board of Advisors.
stephen rock: exaggeration
of data
pigmented inkjet images
Artist’s reception
Thursday 12/15/11, 6-8pm
CoCA Ballard, Shilshole Bay Beach Club
6413
Seaview Ave NW, Seattle, WA 98107
On view December 15, 2011 –
January 15, 2012
Stephen Rock exposes the volume of data streaming
past us and investigates the transient nature of the medium by compiling visual
remnants of our virtual experience.
Excessive amounts of information
are now easily accessed through a vast array of personal technological devices.
Individual statistics and patterns are gathered and disseminated with reckless
abandon and access to Museum and University archives is countered by the drone
of the blogosphere. Revolutions, celebrations, disasters... the fabric of
society flows by without cessation giving fleeting "importance" to any given
moment.
Read Michael Upchurch's review in the Seattle Times, January 6,
2012.
Stephen Rock lives in Seattle with his creative/life
partner Nichole DeMent. Together they own Rock|DeMent visual art space in
Pioneer Square where they have exhibited contemporary artwork since 2006. His 2
and 3D work is collected widely and he has received numerous awards including a
2006 Poncho Merit Award and a 2005 residency at the Morris Graves Foundation.
His large installation works with the Rock Brothers have been exhibited with
CoCA at Carkeek Park and with MadArt Seattle and his work is represented at the
Seattle Art Museum Gallery.
New CoCA Gallery at Seattle
Design Center presenting The Art of the Marathon
Artists
Seattle Design Center, Suite 229, 5701 6th Avenue South,
Seattle WA 98108
CoCA Presents the Art of the Marathon Artists,
consisting of previously existing work by these 26 artists, together with
uncollected and unsold work from the Marathon. Come down and see what you
missed!
On display through December 21 at CoCA Seattle Design Center
Gallery, Georgetown.
Kirsten Francis: Reductive
Woodblock Prints
Artist’s reception Thursday 11/10/11,
6-8pm
CoCA Ballard, Shilshole Bay Beach Club
6413 Seaview Ave NW,
Seattle, WA 98107
On view November 10 – December 11,
2011
Derin Smith: Treehouses and
other Abstractions of Nature
October 17 - November 30, 2011
CoCA
Belltown, Avenue One Condominiums
2721 First Ave (corner of First &
Clay), Seattle, Washington 98121.
As a kid, I spent a lot of time in the
woods building treehouses. The best was when there was new construction in the
area and you could scrounge quality materials. I loved climbing trees and
incorporating found materials into the high branches. I don't climb trees so
much anymore, but I am still fascinated by nature and how we geometrically
standardize nature into usable parts. Today, I still like to build treehouses,
only now it involves building cubes into branches and the dynamic relationship
between nature and the abstraction of nature.
The Use of Everything
(contemporary drawings from Guayaquil)
October 5 - November 6,
2011
CoCA Ballard, Shilshole Bay Beach Club
6413 Seaview Ave NW, Seattle,
WA 98107
Organized by Joseph C. Roberts and David Pérez-MacCollum
in colaboration with DPM Gallery
Participating
artists:
Antonio Arrobo Vélez, Eduardo Vélez Aráuz,
Fernando Falconi, Graciela Guerrero Weisson, Jaime Nuñez del Arco
(MoNo), Jose Hidalgo Anastacio, Juana Córdova, Maria Gabriela Cherrez
Vela, Ricardo Andrés Coello Gilbert, Roberto Noboa, Saidel Brito
Lorenzo, Stefano Rubira .
For context and comparison, other
Ecuadorean artists on view:
Oswaldo Guayasamín, Jorge Velarde,
Bolivar Peñafiel Moran, Luis Enrique Tábara, Humberto
Moré
Heaven and Earth: Cycles of
Return
July 9 - October 9, 2011
Outdoor Sculpture Exhibition at
Careek Park and Point Shilshole Beach
curated by David
Francis
With additional funding from 4Culture's Site Specific
program and the Mayor's Office of Arts and Cultural Affairs, the Heaven and
Earth outdoor artwork exhibit returns for a third year with an expanded roster
of artists. In addition to Carkeek Park, a satellite of the show explores the
Puget Sound marine environment at Point Shilshole Beach in Ballard. Seattle
Parks and Recreation estimated that 150,000 people visited Carkeek Park during
the display period last summer. The exhibition this year features 21 artists
with 20-25 artworks located throughout the park and 10 more at Point Shilshole.
A walking tour of the Carkeek portion of the exhibit takes about an hour and a
half, but some work can be seen in much less time, including a variety of work
visible from the access road. Maps can be downloaded for free at CoCA's website
beginning July 9. A catalog of this year's exhibit will be released in August.
The exhibition is made possible by a unique three-way partnership
between the Center on Contemporary Art (CoCA), Seattle Parks and Recreation,
and the Carkeek Park Advisory Council. As before, the theme concerns the
natural world in a time of dramatic change. Some of the art is designed to
weather in place and erode while other work incorporates movement and
interactive use by visitors.
In reviews by the Seattle Times, City
Arts, The Art of Science, REI Blog, and the Seattle Weekly, the 2010 exhibition
was recognized for its unique combination of art in a wooded urban park, among
the only such exhibitions in the country. While art in downtown parks is
typical of many cities, only Seattle features art in the forest. As Michael
Upchurch, writing for the Seattle Times, wrote, "(t)here's a hide-and-seek
aspect to finding the artworks as you walk the park trails, and one side effect
is that you wind up looking at natural phenomena with an 'aesthetic' eye." Like
the two previous incarnations, this year's show is sure to "slow you down, draw
you in and sharpen your eye." (Upchurch,
Seattle Times)
For more information, downloadable maps, and
images of the artwork, visit http://www.heavenandearthexhibition.org.
(Un)Sanctioned
Opening Reception with artists
in attendance Saturday, August 13, 6pm-9pm at CoCA’s most recent
exhibition Space in the Seattle Design Center, 5701 6th Ave S Seattle, WA
98108. The exhibition, (Un)Sanctioned, will be on view through September 14,
2011.
CoCA and Bherd Studios are collaborating to
bring attention to Pacific Northwest urban contemporary artists creating
sanctioned murals and/or ephemeral work in public urban environments.
(Un)Sanctioned will educate viewers about a commonly misunderstood and
perceived "outsider" art community and begin a conversation about the
controversial nature of street art. The show will also celebrate the diversity
of the unique PNW street style aesthetic which tends towards a cooler color
palette utilizing greens and blues; often incorporating natural elements
indigenous to our area; and also giving nods to Native American line form
drawing and Asian pop culture.
Artists include:179, Carlos Aguilar
& KSera, Zachary Bohnenkamp, CASH, Duffy, Jesse Edwards, Hera, David Joel,
Jesse Link, John Osgood, Parskid and Sneke.
The sanctioned mural above
was painted on location at a public all ages event with dj at Sandbox Sports,
5955 Airport Way South, Seattle, WA 98108 on Saturday, August 6, 2011,
11am-5pm.
Funded in part by 4Culture group arts projects.
Betsy Barnum:
Digging
Artist Reception Thursday, June 9, 2011, 6pm-9pm
CoCA
Ballard Gallery
6413 Seaview Avenue NW, Seattle, Washington
98107
Betsy Barnum’s figurative work is almost embarrassingly
honest. She is her own muse -both physically and psychologically. Her fears,
anxieties, obsessions and joys are as transparent as the layers of paper,
pigment and graphite that comprise her palimpsest-like works. Digging into her
psyche, Barnum chronicles aspects of her life by depicting herself in manners
that evoke her thoughts and emotions de jour. Of course, in doing so, she
chronicles aspects of our own lives as well. -JCR
On exhibit through
July 5, 2011 at CoCA Ballard, Shilshole Bay Beach Club.
Fierce and Delicate: The Brief History of a
Painting
An Art Performance by Ford Crull
Saturday, August
27, 2011: 8:00PM
Radar (in SoDo): 2724 1st Avenue South, Suite A Seattle, WA
98134
Ford Crull's paintings are often about birth,
death and rebirth. On August 27, in the midst of his series begun in Shanghai
in 2008 and continuing in Berlin in 2012, Crull will enact these phenomena with
paint and fire. The performance will be divided into two acts: in the first
half hour, "Initiation," Crull will paint a huge canvas (approximately 15' x
10') under the influence of free-flowing bebop jazz. Crull is known for filling
the surfaces of his paintings with a characteristic lexicon of symbols that has
become Crull's personal visual vocabulary. These signs and symbols circulate
throughout his body of work, taking on new meanings within the eyes of each
viewer. An intrinsic, archetypal quality of Crull's hieroglyphics allows the
audience to interact with the work in a familiar yet undefined way- like the
raiment of a dream.
In the second half hour, "Destruction and Rebirth",
Crull will carve his canvas with a torch, spurred on by raucous music
originating from the Northwest- Hendrix, Nirvana, etc- in an homage to Crull's
hometown. The painting, now backlit, will begin to open up as the artist
pierces the surface from behind, revealing at first radiating, and subsequently
jarring, beams of light that blitz the audience. Ultimately the artist will
emerge through the canvas anew. Critic and poet Anthony Haden-Guest, who has
been witnessing Crull's performance practices in New York, recently
wrote:
"Ford Crull deals with dualities. A canvas can be an arena for
darkness and light, war and peace, aggression and reconciliation, and there is
a duality about the paintwork too, which is at once fierce and delicate. The
knots and aggregations of pigment which Crull deploys are clearly a symbolic
language but they do not suggest coded meaning so much as a grid of energy. So
this was the armory Crull had at his disposal when he began to make performance
a part of his practice in Shanghai in 2008. Just add fire. Crull doesn't
harness performance just to make a picture into a Big Picture though. For
Crull, performance brings focus and ratchets up the intensity. We can, I think,
take it as a given that there is even more inert matter than usual on the
artscape these days, whether it takes the form of product, of luxury goods or
of Duchamp 101 but Crull's art and the consuming fire that is part of that art
together say…Enough."
Ford Crull was raised in Seattle and
received his B.F.A. from the University of Washington in 1976. After college,
Crull made New York city his home and established himself as a neo-Symbolist
painter in the 1980's. Since, Crull's paintings have been added to the
collections of The National Gallery of Art, The Smithsonian Institute, The
Metropolitan Museum, and The Brooklyn Museum, among many others. Today, Ford
Crull splits his time between studios in Manhattan and Woodstock, New York.
Live music will follow. Beer and wine will be served.
This
event is co-sponsored by the Center on Contemporary Art and Friesen Gallery.
Haris Purnomo:
VISITATION
Unveiling Thursday, August 4, 2011, 8:10 pm
Doors open
at 6:00 pm
Plume21 Exhibition Space
2211 Fifth Avenue, Seattle,
Washington 98121
The public is invited to the Seattle's Center on
Contemporary Art (CoCA)'s unveiling of "Visitation" by the acclaimed Indonesian
artist, Haris Purnomo, on August 4, 2011, 8:10 pm at plume21 exhibition space
(2211 Fifth Avenue, Seattle). This will be the only U.S. exhibition of the
installation before it travels to its London destination at the regarded
Saatchi Gallery. Entry is free and the doors open at 6pm.
Purnomo is a
graduate of Sekolah Tinggi Seni Rupa College of Fine Art, Yogyakarta, and one
of the grandfathers of the rebellious Kepribadian Apa ("Pipa") art movement
that shook up the Jakarta art scene more than 30 years ago. Purnomo's work may
be viewed by appointment through August 26, 2011 by contacting CoCA at (206)
728-1980.
"Visitation" is a large installation of 100
larger-than-life-size babies that was first exhibited in 2009 at Bentara Budaya
in Jakarta, and, later that year, was split for partial installations in CoCA's
Ballard and Belltown (Seattle) locations. Thanks to the generous collaboration
with plume21, this is the first time that all 100 babies will have been
exhibited in a single location in the U.S. The present installation was
co-organized by plume21's Thomas Lamprecht and CoCA's Joseph C. Roberts.
When CoCA first presented these works at its Belltown Gallery in 2009,
Lamprecht wrote in Singapore's
C-Art
magazine, "When it works, the overall strength of Purnomo's artwork resides
in creating a platform for unresolved whimsy. It falls short of being a punch
line, a conclusion, and keeps the question hanging. In the end, the wondering
travels the viewer tends to go through are not deeply visceral or profound.
They do, however, aspire to intellectual intensity. It is about how close to
those intensities Purnomo is able to get himself and then pitch it to the
viewer. However politely."
Tattooed babies pervade the content of
Purmono's work. "Each Indonesian child, newly born, carries the burden and
debts of our past deeds," Purnomo says. "...A baby, regardless of his or her
parents, is a new human being. We can invest our hopes in children. I am
perhaps too pessimistic to expect anything from 'old human beings.' There is
something good in thinking an apprehended thief is sent to jail, but it is more
significant to ensure that children will not become thieves."
In his
essay for the catalogue that accompanied the 2009 shows in Jakarta and Seattle,
CoCA Curator Joseph Roberts admits, "I was totally unprepared for what I saw. I
had neither the benefit nor curse of context. A series of life-size babies
floating like cocoons in a spider web if viewed from afar; more like sublime
spirits viewed at closer range...I don't know whether I should be afraid of or
in love with Haris Purmono's work - and I am afraid to ask; but I do, over and
over again."
Viewing by appointment through August 26, 2011 at Plume 21
Exhibition Space.
plume21 was founded in 2009 by Thomas
Lamprecht and Kristina Müller-Eberhard. Plume21 is an independent creative
firm specializing in brand development, advertising, digital communications and
design. Recent client work includes Restaurants Unlimited Inc., United
Airlines, T-Mobile and AT&T. Plume21 also runs an exhibition space and is
committed to showcasing the highest quality of visionary artistic projects. To
learn more, visit www.plume21.com.
Limb from Limb: The Arboreal Art
of Peppé
Artist Reception Thursday, July 14, 2011,
5pm-8pm
CoCA Georgetown Gallery
Seattle Design Center, Suite 262, 5701
6th Avenue South, Seattle WA 98108
For a mid-summer lineup at its
Georgetown gallery, The Center on Contemporary Art (CoCA) presents two
exhibitions exploring the ways that artists on the west and east side of the
Cascades imagine nature. Representing the west side, CoCA is proud to introduce
Peppé, a sculptor working with whole trees to reveal hidden worlds of
line, color, and form that beckon the hand's touch (continued
below...)
On exhibit through August 7, 2011 at CoCA Seattle Design
Center, Georgetown.
-Romey Stuckart, Sandpoint
Across the Divide 3: six artists
from the 'dry side'
Artist Reception Thursday, July 14, 2011,
5pm-8pm
CoCA Georgetown Gallery
Seattle Design Center, Suite 262, 5701
6th Avenue South, Seattle WA 98108
(continued from above) ...Balancing
Peppé's 3D preference, six artists from eastern Washington and Idaho
explore spatial aspects of nature linked to the open landscape of the Inland
Empire in 2D. The exhibit highlights CoCA's effort to locate mature artists
whose work over a longer period of time has occurred outside the havens of
academic institutions. As Michael Upchurch wrote in his
review
of the first Across the Divide exhibition in 2009, the effort to locate artwork
that is not just regional produces "some real goodies, some true oddities" and
is "eye-catching and beguiling."
Artists: Joe Peila (Royal City),
Lenora Jesus Lopez Schindler (Spokane), Richard Schindler (Spokane) , Romey
Stuckart (Sandpoint Idaho), Evelyn Sooter (Clark Fork Idaho), Ellen Picken
(Republic)
On exhibit through July 8, 2011 at CoCA Seattle Design
Center, Georgetown.
-Jim Neidhardt, Portland, OR
Hypnosis: Jim Neidhardt
May 1, 2011 - June 26,
2001
CoCA Belltown, 2721 First Ave (corner of First & Clay), Seattle, WA
98101
On View Every Day, 24 hours
The power of suggestion reaches
the unconscious mind and produces an involuntary response in each of us. The
kinetic optical discs in this show tweak your vision. The designs are
modifications of OP ART experiments from the past. They feature my versions of
work by such artists as Duchamp and Vasarely. These artists found that what we
perceive is often limited by what we are able to see. Come observe the moving
patterns and see what can happen to you.
Poncharee: Thai with an American
Mind
Artist Reception Saturday, June 11, 2011, 6pm-9pm
CoCA
Georgetown Gallery
Seattle Design Center, Suite 262, 5701 6th Avenue South,
Seattle WA 98108
Thai with an American Mind is a photography exhibition
of habitual routines of natives during the 2010 civil unrest in Bangkok,
Thailand. “Hertitage” (see detail above) employs blue, gold and
darker natural wood colors. This photograph is 48” x 36” and images a
denim 'working mans' short sleeve shirt hanging on a wire hanger. The shirt,
obviously worn to threads, the viewer is given a juxtaposition of rituals as it
hangs below a framed shrine of Thai royalty. Kounpungchart received her BA from
University of Washington and is the Seattle business owner of
Shophouse.
On exhibit through July 8, 2011 at CoCA Seattle Design
Center, Georgetown.
Bret Lyon: Second Nature
II
Artist Reception Saturday, June 11, 2011, 6pm-9pm
CoCA
Georgetown Gallery
Seattle Design Center, Suite 262, 5701 6th Avenue South,
Seattle WA 98108
Utilizing mixed media objects Lyon creates sculptures
with found superfluities. Reconstructing piano pieces, “Movement No.
37” is 70” x 10” x 4” in scale (see detail above) and is
proportionally intriguing with the repetition of shapes and color. The colors
shift between the wood elements to purple and red. Lyon states, “The use
of discarded material has always been second nature to me, whether it is in art
or in life. It only seemed fitting to join my second nature with my art.”
Lyon received his BA as well as MFA at Central Washington University,
Ellensburg, WA.
On exhibit through July 8, 2011 at CoCA Seattle Design
Center, Georgetown.
New Work:
Juan Carlos
Castellanos
Artist Reception Thursday, April 21, 2011
CoCA
Ballard Gallery
6413 Seaview Avenue NW, Seattle, Washington
98107
Cuban born Juan Carlos Castellanos paints quietly, privately and
obsessively in Seattle. All of his paintings are the same size, all are on
painted on the same paper with oil that may begin in many colors but always
ends in faded hues of grey, beige and hints of yellow. The works are not
titled. Neither is the show. He has no artist statement. Castellanos argues
that poetry and mystery lie in saying nothing, in not knowing. He says "my work
is not about definition; anything I have to say is said in the
work".
Maya Strunk
CoCA Belltown, 2721 First Ave (corner of
First & Clay), Seattle, WA 98101
On View Every Day, 24 hours
Maya is a senior at Inglemoor High School in the North Shore School
District. She has been accepted to The Art Institute of Chicago where she will
attend in the fall. We wish her luck in all her
endeavours.
DIDiva and the Mirror
Looks
New Work by Lynn Schirmer
Artist reception February 10,
2010 6-9pm
CoCA Ballard Gallery, Shilshole Bay Beach Club
From
February 10 – March 31, 2011 at its Ballard Gallery CoCA presented DIDiva
and the Mirror Looks: New Work by Lynn Schirmer
Lynn Schirmer’s
figures overlap, blend features, and braid limbs suggesting complex
relationships and boundary conflicts. Her groupings hint at formative struggles
frozen in motion in memory. Schirmer produces her flat work spontaneously and
draws exclusively from interior sources. The result is psychological
self-portraiture, thought form rendered corporeal.
DIDiva & The
Mirror Looks is the second in a series of Schirmer’s exhibits carrying the
DIDiva brand. DID stands for Dissociative Identity Disorder and Schirmer has
the condition. DID was formerly and perhaps more commonly known as Multiple
Personality Disorder (MPD).
Schirmer says: “DID is greatly
misunderstood and overly sensationalized. Hollywood and the media are major
culprits. A recent example is Showtime’s appalling The United States of
Tara. I have seen editors of prestigious news outlets conflate DID with
schizophrenia. The clinical community might be of assistance but complex
political and social processes hamstring it and the disorder is unfairly
labeled “controversial”. So the lay public remains woefully
misinformed and anyone with the condition lives in unnecessary isolation or
faces painful stigma. In answer to these outrages, I brought DIDiva to
life.”
With her DIDiva activities, Schirmer joins the ranks of
those who’ve “come out” as having the condition. Some notables
include football player Hershal Walker, writer Matthew Branton, and former
president of the Asia Society, Robert Oxnam.
Lynn Schirmer is a Seattle
artist, activist, and web designer. She is the former Studio Coordinator and
Curator of Corridor Gallery at the Tashiro Kaplan building. She exhibits nearly
as frequently in New York as she does in Seattle. In 2010 she was awarded a
certificate of merit from the New York State Assembly.
More Information:
cycle series :: seven sauer ::
2010-2011
CoCA Belltown, 2721 First Ave (corner of First &
Clay), Seattle, WA 98101
On View Every Day, 24 hours
Nine or so
years of summers in bike shops and associated doings continue to eclipse all
other influences on the makeup of my being. Perhaps the greatest beauty I have
ever experienced was that found while riding in a pace line, inches ahead of my
follower, and inches from my leader, all good friends, at forty miles an hour,
on fantastically artful (mostly Italian) bicycles, and wearing finely-crafted
and styled cycling clothing (likely from Italy, France, Belgium). Then with the
right tail wind, add 5 miles per hour and the audible music of hand-sewn latex,
silk, and rubber tires, aired to 120psi (and yes, from Italy). At that time
around the early 1980s, nearly every bike racer rode a chromium-molybdenum
steel framed bike with primarily Campagnolo parts, likely Cinelli stem and
handlebars, perhaps a Sella Italia seat and Super Champion rims, with ideally,
Clement Criterium Seta Extra tires. Those who had money might include some
extra-special titanium bits from Campagnolo or light-weight specials from Zeus,
and there were relative standards for a poorer man. Bicycle racing was largely
a test of man against man, team against team, all relatively similarly
equipped. I learned to fetishize these pieces of hardware for the joy that they
brought to me in their beauty and function, and the unavoidable
interrelationship of cycling, love and sexuality. Through my Cycle-Series set
of sculptures, I celebrate my enduring passion for bikes and cycling, and my
tribulations with cycles of passion, tying in a variety of other influences up
to the present.
For more information, visit the artist's website:
http://www.oixio.com/arts/cycle-series/
Chae Tongyull:
Unveiled
curated by Joseph Roberts
Opening Reception
Thursday, January 13, from 6pm to 9pm
CoCA Ballard Gallery, Shilshole Bay
Beach Club, 6413 Seaview Ave NW, Seattle, WA 98107
From January 13
– February 6, 2011 at its Ballard Gallery CoCA will present recent
paintings by Chae Tongyull. Although Chae has resided in Squim, WA for 20 years
and exhibited widely in his native South Korea -including a November 2010 solo
show at Indang Museum- this is his Seattle debut.
Artist's
Statement:
Parmenides spent his whole life observing the ever-changing
moon.
What is the relationship between perception and truth?
Some moved the question further.
How does an observer affect the conflict between his internal perceptions and outside realities?
The difference between primitive and civilized is a degree of the distance between nature and dwelling, between outside and inside.
Privacy, the individual space, came into being during the Renaissance.
Where does my individual space fit within the whole?
Must the interior be controlled or let loose as nature?
Must the outside remain as is or should we seek to measure and control it?
In tackling these philosophical conflicts, a mere painting becomes a Greek drama.
Chae Tongyull
Seattle, January 2011