Thursday, 24 September 2015

Dissonance painting 3

"Dissonance painting 3: Sense of doubt",  60/43cm, oil on canvas, 2015




According to Jungian psychology, individuation is a process of psychological integration. "In general, it is the process by which individual beings are formed and differentiated [from other human beings]; in particular, it is the development of the psychological individual as a being distinct from the general, collective psychology."

Individuation is a process of transformation whereby the personal and collective unconscious are brought into consciousness (e.g., by means of dreams, active imagination, or free association) to be assimilated into the whole personality. It is a completely natural process necessary for the integration of the psyche. Individuation has a holistic healing effect on the person, both mentally and physically.

In addition to Jung's theory of complexes, his theory of the individuation process forms conceptions of a phylogenetically acquired unconscious filled with mythic images, a non-sexual libido, the general types of extraversion and introversion, the compensatory and prospective functions of dreams, and the synthetic and constructive approaches to fantasy formation and utilization.

"The symbols of the individuation process . . . mark its stages like milestones, prominent among them for Jungians being the shadow, the wise old man . . . and lastlythe anima in man and the animus in woman." Thus, "There is often a movement from dealing with the persona at the start . . . to the ego at the second stage, to the shadow as the third stage, to the anima or animus, to the Self as the final stage. Some would interpose the Wise Old Man and the Wise Old Woman as spiritual archetypes coming before the final step of the Self."

Sunday, 13 September 2015

Dissonance Painting 2: Dual States

"Dissonance painting 2: Dual States ", 60/43cm, oil on canvas, 2015







From the work of Wolfgang Pauli and Carl G. Jung has resulted a philosophical approach, called by Harald Atmanspacher the Pauli-Jung conjecture, of dual-aspect monism which has a very specific further feature, namely that different aspects may show a complementarity in a quantum physical sense. That is, the Pauli-Jung conjecture implies that with regard to mental and physical states there may be incompatible descriptions of different parts that emerge from the whole. This stands in close analogy to quantum physics, where complementary properties cannot be determined jointly with accuracy.




Atmanspacher further refers to Paul Bernays' views on complementarity in physics and in philosophy when he states that "two complementary description mutually exclude each other although both together are needed to describe the situation exhaustively.




In physics, complementarity is a both a theoretical and experimental result of quantum mechanics, also referred as principle of complementarity, closely associated with the Copenhagen interpretation. It holds that objects have complementary properties which cannot be measured accurately at the same time. The more accurately one property is measured, the less accurately the complementary property is measured, according to the Heisenberg uncertainty principle. Further, a full description of a particular type of phenomenon can only be achieved through measurements made in each of the various possible bases — which are thus complementary. The complementarity principle was formulated by Niels Bohr, a leading founder of quantum mechanics.

Thursday, 10 September 2015

dissonance painting 1

"dissonance painting 1: the shadow", 60/43cm, oil on canvas, 2015

' In Jungian psychology, the shadow or "shadow aspect" may refer to (1) an unconscious aspect of the personality which the conscious ego does not identify in itself. Because one tends to reject or remain ignorant of the least desirable aspects of one's personality, the shadow is largely negative, or (2) the entirety of the unconscious, i.e., everything of which a person is not fully conscious. There are, however, positive aspects which may also remain hidden in one's shadow (especially in people with low self-esteem).[1] Contrary to a Freudian definition of shadow, therefore, the Jungian shadow can include everything outside the light of consciousness, and may be positive or negative. "Everyone carries a shadow," Jung wrote, "and the less it is embodied in the individual's conscious life, the blacker and denser it is."[2] It may be (in part) one's link to more primitive animal instincts,[3] which are superseded during early childhood by the conscious mind.

According to Carl Jung, the shadow, in being instinctive and irrational, is prone to psychological projection, in which a perceived personal inferiority is recognised as a perceived moral deficiency in someone else. Jung writes that if these projections remain hidden, "The projection-making factor (the Shadow archetype) then has a free hand and can realize its object--if it has one--or bring about some other situation characteristic of its power." [4] These projections insulate and harm individuals by acting as a constantly thickening veil of illusion between the ego and the real world.

From one perspective, 'the shadow...is roughly equivalent to the whole of the Freudian unconscious';[5] and Jung himself asserted that 'the result of the Freudian method of elucidation is a minute elaboration of man's shadow-side unexampled in any previous age'.[6]

Jung also believed that "in spite of its function as a reservoir for human darkness—or perhaps because of this—the shadow is the seat of creativity.";[7] so that for some, it may be, 'the dark side of his being, his sinister shadow...represents the true spirit of life as against the arid scholar.'  '

Friday, 4 September 2015

Steps Ahead, Symposium for Contemporary Art 2015, Blagoevgrad Bulgaria







Bogdan Aleksandrov and Sasho Stoitzov

Getting serious with a work in progress

Work in Progress by Dimitar Yaranov

Details

thinking about it

Bogdan Aleksandrov

working

Yeah

Add caption

working on the second of the two paintings

working it out

watching myself

shadows growing longer as the work is almost done

second painting in first stages by Dimitar Yaranov

still working it out....

photo op with Dimitar Yaranov

Second painting complete

Monday, 31 August 2015

New paintings underway, 2015













Imago Mundi: The Benetton Collection

View from the catalog: "Biometric Portrait of 'L.A'", Oil and Lipstick on Canvas, 2014


The exhibition opens on Tuesday, September 1st, 2015 in Venice Italy. My contribution is in the collection, "Bulgaria, Save the Dreams" . The entire exhibition contains 6930 works from artists from around the world.


Press

Thursday, 16 April 2015



“Personal Responsibility” 2008:


                   

                  In late 2007 I was invited to participate in the “M-tel awards competition and exhibition of contemporary art in Bulgaria”, the exhibition was to be from May 2008 to July 2008 in the city of Plovdiv Bulgaria. The annual M-tel exhibition was consistently the largest and most important contemporary art event in Bulgaria, participation was by invitation only.

“Greedy”, 57.3’’-35.5’’, oil on canvas, 2008
                 Having received my invitation for the M-tel exhibition, I set about thinking about what to exhibit: previous work or something new. I had been working for two years on exhibiting work from “the process” and felt that it was time to move on, the M-tel exhibition presented itself as a good pretext and venue to offer something new to the public. Over the course of time from “the process” until 2008 I had become increasing interested in global issues, the problems that normal people were facing. In conjunction with my belief that art is about communication, I felt the need to talk about what I was seeing going on, and more importantly, how I personally felt about it. This lead to the juxtaposition of my own face with directly intelligible text illuminating the particular issues I wanted to talk about. The point was not to simply talk about what I felt, but to talk about what we all feel as these issues surround us. My hope was that by exposing my own feelings on these things I would inspire other people to do the same for themselves.

“I don’t want to see”, 35.5’’-57.3’’, oil on canvas, 2008
                    I created 5 large paintings for the exhibition. I chose to live stream the creation of the paintings again as the third full installment of “the process” with the hope that this would further expand the issues I wanted to talk about in the minds of the people that would watch the project. The project was watched by over 30,000 people over the course of two months. The public reaction to the paintings was very good, the reaction of the organizers of the exhibition was not: they were mainly concerned that the work was “too political”, “too direct”.

                                                                      
“collective guilt”, 35.5’’-57.3’’, oil on canvas, 2008

Original text for the project:



             The process 03 live streaming, Gordon Carter painting five new paintings. The present series of paintings are dedicated to several serious issues confronting the entire world as a unified society, though the emphasis here is on the personal responsibility of the individual in relation to the global problems. Gordon presents this from the select perspective of personal guilt and shame arising from a sensation of helplessness in the face of the magnitude of the issues and which is contributing to the individual’s inability to take real action to overcome these global problems. In the foundation of the concept of the these paintings is the idea that global change is not made by governments, but rather by the billions of individuals who have all taken personal responsibility for their own actions and then make a change; a change which, no matter how apparently microscopic, will indeed eventually be felt in the context of the global equation. The paintings take the issue of personal guilt as a starting point, that one may already realize the issues being presented, however despite this awareness and agreement over the issues, he still continues to remain inactive, carrying on with many daily activities that help to aggravate the problems; if these activities are directly influencing the dimension of the problems and the individual is aware of this and does nothing, then if he is in possession of a conscience, it can be expected that he would indeed feel some sense of guilt for his own contribution to these problems. The paintings also deal with the shame that one may also experience over these issues if he makes these connections, and the sensation that this is something so far beyond the individual; something that began long before him, and that will continue long after he is gone, leaving him with the feeling of knowing exactly what the problems are, and being totally helpless in his real desire to do something to overcome them. Gordon takes this as his foundation here, applying this to himself as a model for others to question themselves; but he does this also to suggest that even the act of talking about these things is indeed an action to help make things better. That even though this may seem insignificant and futile, this small action is actually going to impact in ways that cannot be foreseen. His idea is that the individual is in fact responsible for all the issues in the world; the world is like a massive algebraic equation, in which the changing of any variable in a positive or negative sense will in fact instantaneously change the entire equation positively or negatively despite the insignificance of that change. In this way, all are responsible, for every individual has the opportunity to change the entire world in a moment, though he may choose not to through the lack of faith in his own power.


“collective shame”, 35.5’’-57.3’’, oil on canvas, 2008


                     
“Personal Responsibility”, 53.3-74.8’’, oil on canvas, 2008











Tuesday, 31 March 2015

Thursday, 26 March 2015