This image is of a bronze miniature sculpture made last year in response to a growing sense of unease and helplessness in the face of perceived indifference towards those who are not . . . not what? Not this? Not us? Don’t belong? The two figures can be moved independently and each time create a new relationship between themselves and the observer, the intention is to create a sense of unease
As alluded to frequently in Art Times there is such intensity in living . . . in being alive . . . in existing
A person has asked the question why keep learning? When will learning stop being necessary?
The answer given was . . . learning will stop . . .this will be the last time
Subsequently the realisation came that this answer was not true . . . evasive action had been taken by making a reply straightaway and often the reply is made too soon without due thought . . .
the nature of being alive and thoughtful means there is always something interesting, something not understood, a previously unseen aspect . . . the unknown . . .
And the realisation that for some advancing into that space of not knowing is unavoidable . . .the unknown exerts an irresistible gravitational pull . . .
Since the last time of writing a different way of being has been encountered and has provided a complex new environment which demands unfamiliar behaviours and language . . . a time for learning then . . .
The first instinct on entering this environment was to withdraw . . . to run away, this unknown was too alien . . . this way of being was definitely painful and the default position shouted . . . stay where it is comfortable . . . stay at home
Except that the reason for entering this new environment was the knowledge that the place where comfort exists is not secure and a way must be found to make it so
So choose between . . . change default thinking and behaviour . . . render security unnecessary for a meaningful life . . . accept that security is an illusion . . . anything can change at any time . . .everything can be lost at any time . . . accept this
attempt to become secure by creating an object so attractive and desirable that others believe they cannot live without possessing that thing and will exchange something of their own for this object
At this time the second solution has been chosen and this is the reason for being in this new landscape with these unknown people the task for everyone being to identify ways of increasing the attractiveness of what they know enough . . . to cause others to exchange something for this unknown object/experience/way of being. . . to cause others to want what they have
Five days one after the other and then two days and then one day of becoming other has been invaluable in many ways, there is an awareness of how to move forward and an awareness that there is still much to learn and an awareness that the unknown will always be there . . .
Footnote; Art that hooks the mind’s sensitivity to the experience of other . . . not only visual but written or musical
At the Scottish National Gallery of Modern Art (Modern One) attention is caught by an unfamiliar artist Raqib Shaw ‘ Reinventing the Old Masters’ – vivid and powerful paintings it is impossible to express how moving these works are . . . how the eye opens wide in its search to make meaning of the sheer amount of references to his experience in the United Kingdom and in Kashmir . . . they are brilliant jewels
Reading novelist Marilynne Robinson’s three novels Gilead, Home and Lila which are theological discussions regarding faith and human loneliness . . .the passages about being alone in the world are remarkable . . .sometimes painful and always beautiful . . .
Then reading https://www.theguardian.com/society/2018/jul/18/homeless-person-camera-rough-sleepers-photographs and looking further into the back story of Alex Greenhalgh who has given homeless people on Manchester’s streets an opportunity to show what they see . . .