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RESILIENT MODULE Painting

Irina Rosenfeldt

Spain

Painting, Acrylic on Canvas

Size: 59.1 W x 78.7 H x 1 D in

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$11,000USD

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About The Artwork

The paintings represent the universe of neuronal topography through a change of scale. I amplify this dynamic universe that has its own laws representing the connection between forms, directional flows, spatiality and interstitiality to evoke neuronal connections and their idea of movement in the transmission of information. The representation of this dynamic is based on non-stable plastic elements that generate tensions by creating a morphology that moves from one space to another, or from one work to another. The recombination of forms generates superimposed nodes that agglomerate until achieving a plastic stability. I generate this micro-world through painting and currently video. The black and white work represents a less biological and more psychic plane, such as mental landscapes. Work from precision or out of focus, density and material transparency, integration of layers, color, juxtaposition, superposition of planes and multiplicity of directions in accordance with the world of 3D reality, integrated procedures of the digital image: mirroring, rotation, distortion and multiplication. I work on the idea of movement from two interpretation optics: one physical-spatial and the other as a sign of impermanence. The deconstruction and reconstruction of space appears as a metaphor for the matter in process, in constant transformation, generating a complex world that can not be absorbed immediately.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:59.1 W x 78.7 H x 1 D in

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TRANSPERSONAL ART AND ME. Numerous philosophies and traditions agree that there are three bodies co-existing: the physical, the subtle, and the causal. Generally, the first two are perceived. The physical body sees and experiences, while the subtle body makes connections between thoughts and emotions. The causal body is the spirit, and its perception depends on each individual's level of consciousness. There are artists who have dedicated themselves to various spiritual experiences and left their legacy in poetic representations, symbolic images, psychedelic images, or metaphysical messages. This places them within what is known as transpersonal art. According to philosopher Ken Wilber, this type of art is one that transforms both the person and the viewer. It expresses something that both the artist and the viewer are going to become even if they have not yet "achieved" it. Wilber uses theoretical concepts from expressionism and impressionism to explain how the perception of the internal and external works and the process of de-identification of the subjective, understanding how the passage from one state of consciousness to another is manifested artistically. Impressionism is based on external perception (a landscape), and expressionism on internal perception (an emotion). However, the first is given more value of reality, as the second is supposed to be "subjective." In contrast, for the transpersonal, both states of matter are possible to represent. In all cases of transpersonal art, the artist seeks to capture a spiritual reality. In transpersonal expressionism, the subjective and objective state (that is, impression and expression) are "very close" due to the degree of subtlety in perception that the artist has achieved in their daily work of expanding consciousness. That which is subjective in one state or phase becomes objective in the next. Their subjective world has now become objective for them. Having transcended the previous perception and de-identified from the previous world, a higher worldview can be seen, which embraces and contains previous information but adds new perceptions and a broader understanding of reality. Following Wilber's line of thinking, not many artists could touch the sensitive fibers of the causal body. There is no way - as Wilber points out in numerous writings - to represent transpersonal signs, mystical experiences, without having lived them before. The artist must train not only their eye but also their soul.

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