Ethos in Entropy

by Terrance DePietro

Title

Ethos in Entropy

Artist

Terrance DePietro

Medium

Mixed Media - Mixed Media

Description

Ethos in Entropy, 2017, addition to the series 'The Nature that Loves to Hide'; is by all effect, in a state of limbo. It rests as a virtual file until such time as it will be objectified onto fine paper - and it will happen but one time. [It should be stated that the image Has been objectified, on paper [33.625" x 48.000"], and will not be produced again - it is soon to be in a private collection]

As such it will basically be a mono-type, once it is securely pigment and paper - but I reserve it from such referral; in this digital world, from my painting experiences, something is lacking that holds me back from including it in that most unique medium. Where do we place in category, today's uniquely creative images?

All that is a photograph, and all that are by one filter or all filters made are on the one substrate we call 'digital'. Yet the substrate of a classical photograph was never referred as a 'granular' or an 'aggregate'?

Surly I might fill an essay to the silliness we test among ourselves to the subject - or controversy as it has truly become. I would be no closer, at its end, then at its beginning; so I beg-off that foolishness...Let us fest on a more substantive partaking, cut to the chase and subject at hand. After all, as the title announces we are party to the dilemma.

Should I start with my own associations to the forms at hand? Might I pose myself, as authority on a subject of symbolism, or myth or more sacred - scripture? Or might I play the Fool; disavow all and any familiarity; and report it merely a playful enthusiasm of gadgets with a propensity for Pareidolia - earning me the latest, snugly fitting straitjacket!

None of the above I am afraid! But I will attempt, in my quirky way, to echo a clue or two about title, associations, and this seemingly unorthodox fashion of finding the suggestion of 'otherness'or 'whatelse-ness' that is incorporated into human perception and the reality that feeds perceptions...And Creative activity is but one natural platform; my platform of choice, so to speak - though I indulge others. :::14mar17:::

16mar17
To start with the image was once a photograph. As I am not in the habit to snap pictures of just anything, the subject must have presented it-self; and it certainly did. But now we enter what seems to be a problem these days - the form that grasped attention, is far removed from the suggestions that, the now abstracted, image brings to mind.

Of course the viewer has but one form to rest a thought to; but as the one taking the photo, abstracting it, and presenting it, the artist - by today's polished mindset - and the practice, both, become less than orthodox. Venture to say, that the artist's 'state-of-mind' becomes foremost in question. Will the artist, and ostensibly the artwork, become victim of a dreaded 'predication'!?

It is hoped not, but more and more, as society moves 'ahead', bits of information, with little or no relevance, infect the minds of viewers and peers alike...And rather than taking the images on their worthy face-value, some token oddity gabs the bullhorn: 'Fire! Fire! Danger! Danger! Unclean! Unclean!!'...If I lost my sense-of-humor thirty odd years ago, perhaps I would have simply taken up Golf, Hunting; Mahjong or other suitable gambling habit - to invest time, money; heart and soul in.

Or am I the only person on earth to still dignify the real question: What else is going on; what else is 'potentially', 'subjectively', 'intuitively' happening - in the artist, the image; the entire volume of time, effort and thorough scholarship that it takes, not to fall victim; stir beyond one's limits; or suffer hubris...

Thus, the blemished practice joins a cadre of sidesteps that makes little sense these days - if only to a noticing few. All such, was understood formerly. Moreover, beyond reserve of a privileged few! Where did; or why did, we come to regard it all as other than desirable?

As I know differently, I will continue to remind, if only in contain of my own oeuvres. And a thought occurs to me now: When did we - as individuals - stop investigating - in a manner of imagining - 'The Strange'? Not only to its 'strangeness'; but what-else it might: be 'reporting', 'suggesting', 'adjusting'? In my way, all of those are potentially valid - if only I prudently reserve the imaginable from morphing into 'fantasy' (another item, surly to impart disfavor from my peers). I set aside the issue for now, as it is part of a large scoped paper being formed by Nicole Lemelin and myself concerning the role of imagination; as it encompasses the lives of artists, individuals and humanity itself.

Might I now share along the lines of what the appearance of this isolated image purports to a mindset as mine; knowing well that I am in no way alone in my suggestions?

And as luck would have it, I am joined by propose from two others, who query subjective forms and are not subdued by peer hassle. Timely; and with bonus, as they are both of feminine persuasion - goes to the integrity of investigations into subjectivity because of the common differences that preside and distinguish feminine and masculine dispositions, et al [if only to the vast dissimilarity in relation to 'Feeling', it would be necessitated].

In this case, add that the women are from different cultures, circumstance & consequence; and are half a world apart in location [all notable; yet informal; unofficially intended].

In cultivating the image into an abstract depiction, of an ordinary morsel of natural substance, nothing otherwise was added and the shape is virtually intact. What is rendered is merely the textural qualities; with further removal of superfluous environmental distractions. So it was to the suggestion of an iconic form, that my attraction became attached. Note then, that it was to the object form - not a 'feeling' - that my first impressions were formed. Other than recognizing its potential, we might say that my maleness had yet to be indulged with my more 'inner' subjective - poetic, fascination.

Which goes to the point: that a subtle intuiting was in process, which presented it to mind; where, as a subjective impression imagination took the assignment of querying and rousting 'feeling' as to the 'what-else-ness' was potentially testing to the surface of perception.

As I am well acquainted to my process, I long ago realized that even if my, intuitive, first imply has a measure of significance; it will invariably be mere tip to the iceberg which yet remains beneath the undulating level of consciousness and perception (perception in term of five senses; or inclusive of sixth sense).

Therefore I attempt to attend to other things until such time as I will focus attentively; then might I allow my questions to lead: in, on, under, around, threw...et al that might arrive in question or uncertainty. Yet this shape immediately had spin; long plumage, dangling from its frame; perched, noble, gazing upward; yet fragile, delicate and needing of soft handle - so in fact, maleness notwithstanding, a quantity of feeling was already developing. And though I signed no other particulars, when searching the photo I, in mind, went looking for the series with the 'bird form', taken years earlier but never too far from recollection.

And even if our two ladies would appear to be heading in divergent paths; in fact they are bound hand-in-hand deeply moved at the associations' assigned of metaphor and symbol; only one is testing the title to the form; the other cutting past the title but acknowledging the circle - so significant to the first observer and part and parcel of the title's intent. Our ladies are 'feeling' their way, testing, assigning, reassigning and building imaginal extend - which is not fantasy's end; on the contrary these two are merely starting to find and allocate more potency.

Number one with 'melting away', 'enveloping the occasion'; number two wondering the 'ability to function' and escape, as well, any 'restraint' giving assignment of 'liberty'...All true to form of my own posture to the image but mine barely as poetic as our ladies! My poetics are emphasized in the titling; our ladies have stanzas between them - and taken together are voluminous. And where theirs is a matter, more attending a singularity, - individualized subject; my title is involved to all that might be effected, an in metonymic terms a 'closed system'.

Symbols abound in any and all interpretive versions; with freewheeling exchange of spirit, bird, psyche, liberty, transformation, etc. Spurred on by this article, 'bird' took necessity to search out some distinctions; for I had wondered of a type of bird, yet never pressed the issue, until tonight.

But a vital point needs mention before we indulge in symbol play; that symbol dictionaries, though purposively designed to assist with 'historically applied meaning', are to be taken loosely. Direct correspondences are better seen as somewhat directional but far from establishing accuracy. And in the case of modern issue - which is very much indulgent of spontaneous and free-association - what is being perceived is no way imitative of old myth or other past; but in reality is: Spelling Out the Actuality of This Specific Time.

The entire event of the image is factually 'An Image of Our Time'. How that is so, is a continuing unfolding and recognition of the potentials of mind, soul and the gifts we have always possessed but yet to have mastered...

That said, the iconic, feathery friend; perched within the closure of an 'active' (red) circle (in all its, imply), add the circle is not empty but filled with 'particulars' [whereas the spaces (2), outside the circle are mere only of color and tonality - raising conjectures?], etc., etc...Yet what type of bird are we dealing with?

And I find similes of form with a lark, a finch and added tonight, a nightingale...What I find strikingly important is, that at best - and happily so - any and all might serve us our denotations; and each one would allow us to partake of an imaginal junket without allowing a fantasy to persist onto the event or the object image. And for me, the finch - at present of the moment - seems appropriate: diverse of energy, with a measure of vulnerability - Entropy, dealing with energy, vulnerable; yet looking to the above light, that is in front of the darkened unknown for the strength to exit an unnecessary eventuality...or call it a consequence of our time! 16mar17 tdp

Copyright 2017 Terrance DePietro, all rights expressly reserved.

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March 14th, 2017

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