I explore use as an artform. I use every day objects to bridge the gap between science and spirituality.

Result #1

I make a link between science and religious belief. I use the most simple everyday objects—a spoon, a nail, a piece of string—to create a sculpture that is both scientific and religious. I want to show the link between science and religion. Science is one of the worlds greatest inventions, but we need to learn how to use it. I have found myself doing the same.

Result #2

I explore use as an artform. I use every day objects to bridge the gap between science and spirituality. And I also use the body to witness, to make visible, the real.The exhibitions title, Filling the Studio, comes from an old painting by Antonioni. It shows a figure in the studio—a female figure in a studio suit. The title is a reference to the artists studio, but also a pun on the word studio. Studio, like the title, can be a place where the real exists. It is a space that allows for the most diverse forms of interaction.In the gallery, each work was displayed in a separate room. The walls were covered with a white silk curtain. This curtain served as an invisible barrier between the works and their viewers. One could not approach the works on display without being slightly uncomfortable. Inside the curtain, the exhibition space became a space that was divided into two parts. The first part, opened up by two openings at each corner, contained two doors. The doors led to a white room where the other works were on display. This white room was divided by a white curtain into two parts, which formed two rectangular spaces. The curtains, like the white walls, were visible only from a distance of a few feet. The distance between the two groups of works and their visitors was so great that the viewers could only imagine the distance between the two rooms. This distance was intensified by the white silk curtain which separated the two groups of works. In this space, the viewers could only imagine the distance between the two rooms. But from a few steps away, they saw a scene that was far away, and they could not perceive the distance.The white silk curtain was a reminder of the distance between art and reality. It became a kind of barrier, that interrupted our perception of reality. As the silk curtain disrupted our perception, the reality that was denied was maintained. Art, which is an illusion, is the foundation of reality. In the curtain case, reality was not furthered but maintained.

Result #3

This is not a question of form-givership; it is a question of difference-in-difference, which is the central idea of this show. It is a question of one thing being a tool to be used in another. And the objects, which are all concrete, are all known and quantifiable, including their price. The question is whether they are the right tool or a viable choice. In the end, we are left to our own devices.Brett King is an artist based in Berkeley, CA. His new book is titled The Quest for Meaning.

Result #4

I explore use as an artform. I use every day objects to bridge the gap between science and spirituality. I use an environment that is one of infinite possibilities, one of encounters with the invisible, with matter. It is a peaceful, concrete, clinical space, where we can exchange information with one another, with all the systems that are put in place for this purpose. The work of Michel Foucault and Pierre Restany is an attempt to grapple with this space. Foucaults text, Anarchy in America, is a prediction of our impending ecological crisis. It is a prediction of a world in which we are the only ones who have the power to shape our future, but Foucault believes that we must stop thinking of social change as a systemic, social issue. Foucault uses the analogy of the laboratory as an allegorical device. He asserts that the nature of society is to be the image of the other. He asks us to think of our own image as a kind of prototype, a image that can serve as a kind of genetic copy of society as a whole. Foucault argues that the image of society as a whole can be a surrogate image of itself, for it is an image that can be substituted by a single society for its own image, which is a mere image. Foucault proposes that a society can only exist as a substitute image, one that is both autonomous and nonidentical. Foucaults theory is elaborated through the imagistic construction of the image of society. It is an image of the alternative. Foucault asserts that our society can only be one image, as long as it exists in the imagination of a single society. He points out that the image of society as a whole is a substitute image of itself. For Foucault, society is the image of the other. He states that the image of society as a whole can be a surrogate image of itself, for it is an image that can be substituted by a single society for its own image, which is a mere image.

Result #5

I explore use as an artform. I use every day objects to bridge the gap between science and spirituality. The question of how to get through to the future is posed in this exhibition.In the course of the exhibition, eight sculptures were presented. These pieces consisted of bronze castings of the parts of a house, each approximately one-and-a-half feet high. They were placed on a pedestal and were surrounded by a large white wall of wooden slats, which were piled in a row. The space in the house was divided into three zones, and this division was reflected in the three sculptures. The first zone was a complete empty one; the second, the sky, and the third, the ground, were all perfectly white. The idea was to put the white space into a symbolic and concrete relationship with the sculpture. The sculptures were also titled The Waters, and their colors were purple, green, and white. The white is the residue of the wall, and it acts as a protective barrier between the sculpture and the viewer. The sculptures were placed in a manner that would imply a certain distance from the viewer, and they seemed to be floating in space. It was as if one were walking in the direction of the objects, toward their white expanse. The white, painted, and sculptural space in the house was broken down, and the piece became more concrete and mysterious. The white space was also the white zone, and the viewer lost the sense of the white and of absolute distance. The white space was the symbolic and poetic space of the house.The white of the sculpture was linked with the white of the wall. This white was also the white of the water and the ground. It was the white of the house and the white of the world. The white of the house, the white of the river, the white of the world, were all the same. The white of the house and the white of the river were also the same. The white of the house and the white of the river were also the same.