STREET now open! Chicago | Los Angeles | Miami | New York | San Francisco | Santa Fe
Amsterdam | Berlin | Brussels | London | Paris | São Paulo | Toronto | China | India | Worldwide
 
Toronto
process notes # april 2014: Narrations of indeterminacy

Narrations of indeterminacy

 

”What chaos and rhythm have in common is the in-between- between two milieus, rhythm-chaos or the chaosmos. ” (Deleuze and Guattari, 1987:313)

 

The awareness of the ephemeral and fleetingness of nature can be perceived underneath the visible surface of an artwork. As I view a drawing, the nature of it can be viewed through both an outer and inner openness to its mysterious depths. Just as one creates an artwork, it evolves through an intertwined string of webs, interdependent and trans-connected, like a rhizome. It spreads out through the moment of creation and develops into an illuminating surface of both invisible and visible passages showing me both the ephemeral and continuity of being.  

 

“Life has always seemed to me like a plant that lives on its rhizome. Its true life is invisible, hidden in the rhizome. The part that appears above ground lasts only a single summer. Then it withers away—an ephemeral apparition. When we think of the unending growth and decay of life and civilizations, we cannot escape the impression of absolute nullity. Yet I have never lost a sense of something that lives and endures underneath the eternal flux. What we see is the blossom, which passes. The rhizome remains.” (Carl  Jung,1963: 4)

 

Repairing a spider’s web is like repairing the impermenant. For as I create, the untranslatable and the indeterminacy of the passing creative moment always eludes any form of translation or determinacy, remaining therefore endlessly in its own flux. I can try to paint over or erase my colors or lines, but the mysterious world underneath the surface always remains. The rhizome never ends.

        

“It is not down in any map; true places never are." –Moby Dick 

 

I draw, similarly to the way I move physically, becoming both an invisible and visible player. I jump; forward, backward, in-between, and around as I draw intuitively letting go of structures. My pencil and I are one. Moving with the other players. Only seeing clearly when I become a part of my movement that I don’t see, yet sensing and feeling the transmittable energy.  It is the energy that attracts me and the game is not about winning. Sensing and feeling the beauty and compassion of the other players within and without the self, that transmits energy in an endless flux. No longer experiencing resistance but experiencing the overwhelming energy that reflects beauty and illumination.

 

The drawing illuminates through its own presence, showing that the encounter of the beyond, the in-between and the sublime is not about looking for the beautiful, or winning, but being born from and with the understanding of the essence of beauty. The stubborn quest of merely winning dissolves into the horizon as it passes into hidden revelations of a liminal, in-between space that is non-locatable.

 

The creative act of drawing shows me the pureness and fragility of a line revealing not the see-able line, or the dotted points of a map, but the valuable other light that can only be seen through our senses, illuminating us with the pure essence of a transmittable energy. A constant flow; like a rhizome; eternal and endless. It is here, never pinned down to a map of borders that I can hear and see, and where the drawing becomes a live.

 

“Censor the body and you censor breath and speech at the same time. Write yourself. Your body must be heard.” –H. Cixous

 

 

Posted by Anne Sophie Lorange on 4/8




the hour of the star

Process notes February 2014

 

 “Do you know what I really want to be? A movie star…Did you know that Marilyn Monroe was the color of peaches?”…”What makes you think that you’ve got the face or body to become a film star?”-c.l.

 

The canvas shows a visible structure that reminds of the way one can view a person’s outer structure, the edge of the sea, or a mountain from a distance. It is there in front of one, a physical, structure outside. I can see its outer lines showing its structure like an external preconceived definition. My sight defines what I see. It is similar to a shell and inside, it is filled with its own meaning of inner space. What can be revealed underneath the structures or beyond the structures? What can a canvas reveal beyond its own structures? Starting with a blank canvas, one can reject it straight away. Simply focusing on its limitations. Or one can acknowledge the canvas for what it is and what it may posses. What is underneath the shell’s structure? The realization of what lies within is a moment of redemption.

 

As I ski down the mountain I realize how the space underneath my skis turn into an undefined abstract space. The distant structures of the mountain disappear as I move into a flow of sharpened senses as the edges of my skis carve a fine line. Revealing a new line each time, as the painting becomes alive and the structures of the canvas disappear, the lines and colors appear. Just as the distant edges of the sea disappear, when entering into the sea, the sea reveals its unknown depths that only appear as one dives into the water, understanding the structure of the sea and the abundance of free and abstract space within it.

It is here in this space I can sense and feel the liminal energy between the visual and textual language. It is a way of communicating. Seeing the thin underlying visible and invisible threads that hold a structure together. Like music, a written text can transform into both a visible and invisible thread and interweave into my own understanding of a visual abstract language through painting, drawing or installations. The textual and visual spheres remain interconnected with an abstract space. It is here in this space boundaries between the visual and textual language are erased and I am able to acknowledge a liminal space of existence.

 

“always the beautiful answer who asks a more beautiful question.” e.e.c.

 

 It is in this space I can connect to my own abstract visual vocabulary through an open and free liminal space of both visible and invisible threads that connect and release the structures of a written vocabulary within. Like our own interconnectedness to nature, an underlying cycle of life revealing its abundant, inner beauty.

 

“For in the hour of death you become a celebrated film star, it is a moment of glory for everyone, when the choral music scales the top notes.” –c.l.

 

This interconnectedness reveals the hidden secrets of life and mysteries of being a live, feeling a deep compassion. Compassion to both the visible and invisible; revealing the liminal energies in us all and the true beauty of existence.

 

“Star with a thousand pointed rays” c.l.

 

Posted by Anne Sophie Lorange on 2/26




art as sharing space

 

Process notes November # 2013, Art = sharing space

 

Is it possible to live a life sideways stepping out of a fixed linear thought? Is it possible to mend together dissolved identities or obsolete words by creating a space that makes sense in the spacing, the “being-with”(Nancy) others in a space? For instance, does a finished painting visualizing a rethinking of space become a visual representation of the indeterminate of aporia? Is it possible to step aside and understand how to think the infinite as an opening of the finite? In this space is it possible to develop a sense of sharing through the sense of openness of space through our notion of visibility as blindness of visibility through the painting becoming visible? Or through the notions of Derrida’s “arrivant”, as the impossible becoming possible? The painting becomes indeterminate, showing vulnerability of human existence. In the flow of a creative process, the subtle space is a flow of pure infinity, a silent passage evolves leading the way to our interconnectedness as sharing becomes possible through this very sense of space. The energy transmits between the painting and viewer, leaving traces of our sharing space that steps out of rigid, structured linear patterns. In this intimate space, alienation does not exist rather a shared potentiality of our own transcendence and possibilities extend beyond space and time. In this space, we can hopefully enjoy the infinite goodness of life. Like the structure of a stone becoming a boundary- less reality where one can dissolve as a porous material with it, showing a language that circulates freely, a mode of expression that challenges exclusions. Exploring our imagination and rediscovering life through escaping into the vast openness and seeing the possibility of change releases a hope in any structures and un-structures of language. Like an unseen sea of living beings, letting go of separation and exclusion, showing us to go beyond blindness into an intimate and subtle experience leaving behind traces of both the visible and invisible showing us to trust others through sharing the space of “being-with”.

 

Selected views, www.annesophie lorange.com, “unintended interpretations #”

 

   

 

 

 

 

        

                 

                                

   

   

 

 

 

 

 

 

Posted by Anne Sophie Lorange on 11/22/13




Notes # 9, october 2013

Notes # 9, october 2013

 

 

The process of creating a painting is a process of cohabitating. It is interesting to start by facing a classical dilemma of a pictorial operation: ” How to approach a canvas?” It is through the classical structured representation of painting that I am able to depart from my own paradigms of painterly articulations. The point of departure is the point where the canvas is no longer a canvas. The canvas and I disappear and dissolve into a realm of abstract questions and answers. Here being able move past ones own flight, towards different heights that stretch into different directions. The painting process becomes a way of moving, existing. Painting becomes a complex space, where one exist through the painting’s encounters that change continuously out and in from eyesight. Sensing an absence of a presence. It is a viewing of a visual map, of being both inside and outside simultaneously. The textual, non-textual, the visual and non-visual, the being-ness of my movements, all displace me from the static edges of the linear lines. There is no need to follow the definite or linear, I can move past the end, and the linear. Displaced and cut-off, a total freedom of space. Disappearing. Re-positioning and re-directing.

 

"Far away"

 

The world is bluer and of the earth

at night, when I sleep

p.n.

 

"in Eden"

 

Ah! the sea!

might I but moor

to-night in thee!

e.d.

 

Intuition. The painting becomes a live and the dialog begins. Dislocated from representation, I become a part of the painting, in-between and transparent. Here I can stand still at the edge of a painterly gesture, a line, and listen to the silence, jumping into the unstructured chaos of my thoughts and feelings. It is here in this space I am able to come to terms with my own language that stretches beyond definite words and images.

"panta rhei I"

 

 

 

"panta rhei II"

 

It becomes a landscape with no borders. A handwriting that doesn’t write, but still can be easily sensed in a reflexive intuitive manner. It cohabitates a multi-sensorial abstract space. Becoming a live intuitively, it exists and connects, and I can understand why writing is not always writing, but an open question and answer to a map without definite viewable lines that moves beyond the question of “what remains?”

 

 

"Invisible mending I"

 

Posted by Anne Sophie Lorange on 11/1/13





Copyright © 2006-2013 by ArtSlant, Inc. All images and content remain the © of their rightful owners.