Review | There are eyes every...

Generated on 2023-12-21 05:10:30

Result #1

There are eyes everywhere: security cameras, fingerprint scanners, body scanners at the airport, and ad infinitum.* Could the eyes looking over their shoulder be making a statement about paranoia in our culture? Or are your eyes more about how important eye contact is in relationships As to G E S T A L T, I see closure in the circles: two from the ground pasted over your figure and two from the figure pasted over the ground. It's as if the ground continues through the form, and the form continues through the ground. There is ambiguity in this, which is part of what makes good Synthetic Cubism. The circles represent the similarity of shapes, but this is a different kind of similarity. The difference is the difference: an arrangement of shapes that are entirely different in their number and color. Who you are is more important than any circle you make. How you get the shape you want is only the result of your affinity with it.The difference between the shapes you get and those you are given is that you have to walk around them in order to determine the right one. In these circles you can be moved around them, but you cannot join them. The circle and the circle alone are not sufficient, and you have to walk around them in order to determine the right one. There is no difference between circles and triangles. Because there is no difference between an angle and a perfect angle, the circle is a valid form; the triangle is a valid form; and so on.You can know about the size and shape of a circle, but how many there are can be different. There is no perfect circle, and the only valid circle is the cone. You cant know about a circle, you cant know about a triangle. You cant know about any circle, you cant know about any triangle. The only acceptable shape is the round. The shape you can form is the round. The shape you cant form is the oval. The shape you can form is the oval. The shape you cant form is the hexagon. The shape you can form is the hexagon. The shape you cant form is the oval. The shape you cant form is the round. The shape you can form is the round. The shape you cant form is the irregular. In all these circles, you can be inside them or outside them. The round shape can be a circle, the oval, the hexagon, the oval, or the round. No shape, no round shape, no round shape. Inside the circle, you can go, and out of the circle you cant go. In these circles, you can join the shape.

Result #2

There are eyes everywhere: security cameras, fingerprint scanners, body scanners at the airport, and ad infinitum.* Could the eyes looking over their shoulder be making a statement about paranoia in our culture? Or are your eyes more about how important eye contact is in relationships As to G E S T A L T, I see closure in the circles: two from the ground pasted over your figure and two from the figure pasted over the ground. It's as if the ground continues through the form, and the form continues through the ground. There is ambiguity in this, which is part of what makes good Synthetic Cubism. The circles represent the similarity of shapes, the figures the close-knit, the ground the barrier. (The ground-centered structures are like some kind of skull, not a plane.) The shapes are at once the same as the ground and different: on the surface of one of these forms the outline of a circle is just a shadow, and on the other it is a shape that has no shape at all. It is as if, when you drop your head down, the shapes will always be the same. Greetings, Greetings: when you close your eyes and start moving, you can start seeing the world as it is, and your eyes will always see the same.G E S T A L T is a synthesis of a lot of ideas and techniques, but more than that: it's a science of seeing, something as, in fact, as a genre, as a style. It takes as its starting point the abstract, but here everything is in harmony with it: the circles, the geometric shapes, the shapes that look like airplanes; the shape of a person is as human as his or her shape, and they can be as large as they want. The planes, too, are in harmony with the circles, the planes of the world, even the people, which are like man-made shapes. And it seems to me that seeing is the only way to pass beyond the body, beyond the eye, and beyond pain: see as much as you can, or as you like.G E S T A L T is another way to express this. It is a kind of counter-to-the-body art, an art of self-harm. It does this not by overdoing it with pleasure, but by making its subject and its support both, organic and complex. (The art is sometimes called melodrama.) And it shows us that we are much more than the sum of our parts; we are in a country that depends on constant additions.

Result #3

There are eyes everywhere: security cameras, fingerprint scanners, body scanners at the airport, and ad infinitum.* Could the eyes looking over their shoulder be making a statement about paranoia in our culture? Or are your eyes more about how important eye contact is in relationships As to G E S T A L T, I see closure in the circles: two from the ground pasted over your figure and two from the figure pasted over the ground. It's as if the ground continues through the form, and the form continues through the ground. There is ambiguity in this, which is part of what makes good Synthetic Cubism. The circles represent the similarity of shapes of bodies, as in his Mother/Father, 1955–61. The power of the forms is not that they have the same shape as the ground, but that they are shaped differently. The ground is the surface of the body; the shape of the ground is the form of the body. At the same time that the ground has an identity, the forms have an identity. It seems to me that the circle is an expression of the way in which an object is shaped, which is to say, the way a shape comes into being, like a piece of wood or a piece of paper. The shape of the ground can be seen as a kind of construction. In this way, the shape of the ground and the shape of the body are one: a shape that must not be seen.For me, the circle is the most subtle thing in the series of black and white photographs by Sylvia Plath—the last series by the artist before she died in 2010. The black-and-white photographs are collages: they are done by cutting up photographs. For example, in one, a larger group of the same picture are cut up and arranged on the page in a grid format, so the group is one. The photographic collages are presented in a grid format. In a second collage, two-part collage, a second group of black and white photographs are presented in grid format, with the same number of squares and rectangular rectangles, and in a third collage a square of black and white photographs is displayed. Each of these is an element in a grid. The collages have an extremely specific shape and color, which in a good way echoes the shapes of the black-and-white collages. It is true that the black and white collages are, on the one hand, more formal than the collages, on the other hand more geometric than the collages.

Result #4

in form, the ground the difference in form. What we get, in this rhythmic and complex universe, is an atmosphere that is at once alive and dead. It might be a field of life, a living field, a planet, a crater, a planet, or a city. In such a universe, there is no room left for the world that we know.

Result #5

in the same body. The shapes don't bepart the same materials, or the same material, or the same materials. Thats why one is more complex than the other: one can be finished with a solid surface, and the other has a rough one. What the figure/ground duality does is not only allow you to put the form on solid ground, it allows you to place all of your emotional energy into the form. And that can be a serious virtue, a virtue that allows you to live in a world of much less alienation than you think youve had to live in. All you have to do is sit down in the circle, and then its there.