"Walked into and through"

Samantha Konet
Oct 19, 2014 4:23AM

“Walked into and through”

Curated by Samantha Konet

 It is time we have woken up from the lone slumber dictated by the virtual realm.  The ‘realm’ that settles behind the dim-lit screens nestled in the palm of our hands cannot be tangible.  Steadily, the reliance of telematic services has reduced haptic experiences to mere democratic engagements.  Empirical evidence has claimed the release of idiosyncratic thought, as it is constantly strewn about. Allowing the shared access of opinion, as to superficially construct a social context, to recognize what may be defined as how one is expected to experience art is frankly, notional and entropic.  The degeneration is specific to the corporeal form.  Somatically a viewer may connect the physicality of the artwork I have selected in relation to understanding the void that is present within their action in viewing.  The void becomes a shared bond between viewer and the walls that the work is suspended on.  Through the viewer’s approach may the read be determined.  Devoid of any sign that implicates a meaning, the abstractions are visual self-determinate from the viewer.  Seeing is an action demystified by an exemplification that the selected works are unbound to the access of one venue.  The immersion of abstracted thought can be cleared.  The aesthetic of the space is inducted into an entity produced by the cohesive appearance of materiality and present hand of the artist.  Within contemporary practice, abstraction is a form of realism.  I have sought to revoke the quality of such works with the means to provide a venue as correlated by the selected work. Revived is the coherent condition of looking past the screen of our obsession with a digital format.  It is within the experience of recognizing our position to a body of art that may be understood as no longer enveloped.  Tactility is not meant to be encapsulated through a digital form.  Shall the arms of the viewer embrace the representation as non-objective but significant. I find it to be requisite that the void is no longer enshrouded, but projected.  It is as though a threshold enclosed by a screen door that the viewer continues straight through.

Samantha Konet