The swirls in the middle ground are mesmerizing, surreal, and slightly psychedelic In the distance is a foreboding black rock, drawn with a touch of menace.

Result #1

The swirls in the middle ground are mesmerizing, surreal, and slightly psychedelic In the distance is a foreboding black rock, drawn with a touch of menace. Sylvia Plath wrote, Now the abyss is the place of no return. The black rock is an ominous, ominous, inescapable thing, in the middle of the desert it has always been and still is the place of no return. But Plath isn't predicting apocalypse—she just hints at it. . . . The abyss is the place of no return, the black rock is a desolate place, but neither is it evil. . . . The abyss is the place of no return, the black rock is a tomb, but neither is it filled with souls or buried with the gods of the wind. Plaths painting deepens the uncertainty of this image, and her visual flourishes provide an exhilarating respite from the bleak emptiness of the desert.Plath describes the painting as a repositioning of the source from the shadow, as in a painting made of two identical shadows: one made of smooth, rough craggy rocks and the other of rough, smooth, old stones. The difference in quality between the two is just enough to render it a sign of the world, something to be avoided at all cost, to be avoided even if you are standing near it, as Plath did. And though she doesn't suggest that the painting should be viewed as a pure shadow, her emphatic use of thickly colored paint to emphasize the depth of the image seems to be a veiled criticism of the view, which often ignores the paradoxical properties of the dark or thickly painted areas of light. The paintings ambiguities and deceptive qualities are the result of the artists tension between the dark and the light, the strong and the weak, which she has dealt with on an almost obsessive level. It is this tension which is most evident in her oeuvre. Just as in her work with watercolors, Plaths choice of materials makes it clear that the source of her influences is also their source.

Result #2

The sculptural re-creation of a plantation house may not be an entirely new phenomenon, but todays remade products are never far from familiar.

Result #3

 Here, the subject is the highest forays into total hallucination and mysticism. The artist is an adept of the occult and the collective unconscious, even as he sublimates the archetypal individual within his environment. The one theme that the artist uses in his work is the primitive. The colouring of his pictures is influenced by nature, the trees, the earth, and the sky. But he also studies the society of the savage, particularly the hunter-gatherer culture of his native tribe, the Chukchi, who live on the Bering Sea, a modern-day Hell on Earth. The forests and mountains of Siberia are a manifestation of the inherent nature of the human body, and the earth is an embodiment of the inner, magical power of the subconscious. He tries to integrate nature and culture in a coherent world. The earth is the body of nature. The earth is the body of the divine. Like an emotional infant, his mind seems to grow out of his environment. There is no difference between the unconscious and the conscious. The unconscious lives on earth, but the conscious lives in heaven.The themes of shamanism and of primitive spirituality have been explored by many artists, from Marcel Broodthaers to Robert Rauschenberg, and Rebeca Hahn to Michael Fried. But the most important subject is the collective unconscious. It must be transformed into the spiritual by the shaman. This is the only way to penetrate the inner consciousness, the subconscious. The shaman is a person who unleashes its unconscious, but his ultimate purpose is the conscious—the liberation of the unconscious from the tyranny of the unconscious.

Result #4

The swirls in the middle ground are mesmerizing, surreal, and slightly psychedelic In the distance is a foreboding black rock, drawn with a touch of menace.  The drawing is more than just a signature; it appears to be the artist's own reenactment of a lost moment. The red, yellow, and blue lines in the drawing are the same as those in the drawing, and the black craters in the drawing (which are in fact the painted surface) are in fact the artist's reflections on the dark white canvas. The placement of the black craters is both precise and flexible, like the simple planar construction of a floor. The outline of a red sphere is added by the corner in the corner of the circle, an area where the middle point of a circle is at the bottom of the canvas. The corner is also the edge of the circle, and it is almost a straight line of the circles center, the corner having been cut by the corner and the corner turning away from the center. In the drawings, the corners are left alone and the circles center points are out of the drawing, but these point out a broader field of possibilities: the corner of the center and the corner of the corner are also parallel to the surface, and the corner of the corner points to the top of the corner. The corners are also at the bottom of the drawing, suggesting a more controlled, more ordered, and more predictable space. The red, yellow, and blue lines repeat on the opposite sides of the corner and the corner, suggesting something like a pyramid. The circles are drawn as a rough white outline. In the drawings, the surface and the shapes become more consistent, the drawing becoming more solid and impenetrable. The clear, clean, unadulterated surface of the surface, in the drawings the surface is a murky, underplayed color. This surface is impenetrable, unlike the opaque, linear surface of the surface. The surface, so the surface of the drawing, has an opaque appearance, and yet its structure, even its surface, is impenetrable.

Result #5

The swirls in the middle ground are mesmerizing, surreal, and slightly psychedelic In the distance is a foreboding black rock, drawn with a touch of menace. The trees, whose shadows have been replaced by the same shadows as the mountains, are full of shadows; the earth is rounded and deep. Yet while the earth seems to be cemented and immaculate, the trees are cracked and porous. The ferns in the distance have turned into moss, or, at the very least, are not dead but frozen. Though the ferns may be alive, their regeneration and decay is less fully sublimated. The trees become mosses. , The ferns are alive. The trees become mosses. , The trees become mosses. , The trees become mosses. , The trees become mosses. , The trees become mosses. . . . The trees become mosses. . . . But the mosses are alive. They are always alive, and the trees, too. A moss-covered tree is an ideal environment for regeneration. In the winter of 1959, some moss-covered trees bloomed in the sun and filled the air with snow. Life is alive. Maintaining a mossy environment, as the moss grows, also makes for a sterile environment. When you lose that moss, it turns into moss, and this moss, which the moss loves, makes life more precious.Life, always alive, always alive. Life, forever alive. No matter how you look at it, no matter how hard you try to destroy it, there is no death. Even when you kill it, moss remains.Museum curators Aruna Achand and Anrongi DiGeorge argue that a natural setting and a cultural context provide a counterbalance to the ideologies that tell us that the natural world is an inextricable from society. The new mossy cultures in this exhibition challenge Western industrial and cultural values by acknowledging the primacy of nature over all else, whether it is the reality of nature, or the natural world as a living entity.