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conscious
picture, archetype or picture of idea might already be
nameable. It thus takes a shape first and then can be examined for the
idea represented within.
If intentional or automatic - another advantage of a sketch or a model is that is is a means of overriding material demands. To be better understandable the drawing thus is transferred to the 3rd dimension, that is spatialized. This cultural technique is almost a compulsory exercise for everybody after 500 years of developing and perfectioning of the perspective presentation that art revolutionized at the transfer to the Renaissance. Furthermore today we experience that artworks themselves expand into the room by artists building instal- lations. In fact the step between drawing and installation is bridged by many artists through the build of models. They represent the object to be built and in relation to the installation they function like a drawing in which the parts of the object are spaced in the third dimension doing without the perspective presentation. But to understand the models and installations we need the 4th dimension which is given by the movement of machines. Here the 4th dimension - the time - is represented. Whilst the 3-dimensional model of a machine functions still as image or 'symbolic form' of the 4th dimensional - the installation of a machine, hence the kinetic installation, implies thus the 'symbolic form' of the 5th dimension. Here the echo resounds with the natural sciences that Grypstra, who demands the inventive for herself, is grappling with. And here ways of thinking can be found that also lead to the shapes that present models of the hydrogen atom. Because how does one get to the representation of the one electron in this atom when it is "everywhere and nowhere" at the same time? Here again - argued for or not - it comes off as an experiment that represent something like the 5th dimension. When one considers the difficulty of representation of an electron then |
from
the viewpoint of the fine arts one can assume that
it is about a figure beyond time and space and that it can be
represented also with non-mathematical means of the installation and
without digital simulation instead with the named models that I pointed
out. This work could lead to a figure that looks like the one Grypstra
has
installed here. Annotation At this point we find in a three dimensional object a clue for the present of the 4th dimension, namely the time that is a precondition for us to carry on thinking about the subject 'breaking'. In the motorized object we furthermore come upon a four-dimensional model that can be the symbolic form of a five-dimensional reality. I already understood the act of drawing as a slowing-down (brake) compared to the idea or the flash of thought. Now this process of slowing down is continued on the level of reception; because the perception of an object via the senses, the 'reading' of a work, demands indeed quite a bit of effort and expenditure of time, which is in opposition to the first impression that is won very fast like the drawing to the flash of thought. In opposition to the first impression that a work leaves behing the reception of an art work has a braking effect also for the onlookers. At the fact that one is prepared to bear this braking effect it quickly becomes obvious if one likes or dislikes a piece of art without having to first say why that is and what is represented respectively. The sensual transfer of a thing and the following analyses of the the sensual impressions slows down the legibility but under favourable circumstances it ignites a process through which a work reveals itself. |
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text
Almut Grypstra
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