Category: Art

30 May

Imagination

Amelia Hoskins / Art / / 0 Comments
St Peter, St. James, Beatrice and Dante, St. John Descending - Tate Britain Exhibition 2020 - photograph by writer.

In your bosom you bear your heaven and earth and all you behold; tho'it appears without, it is within, in your imagination'.

'Like many of Blake's statements, this can seem bewildering and mystical at first glance, but when we reread it we see that Blake was being clear and concise.' (John Higgs, Blake vs the World, Ch. 4).

All that exists in the material world started as an idea in someone's imagination.  Now that we live in such a provided-for physically built environment, and since the industrial revolution, its possible to believe in only the material world, things we can see and touch, which are already there.  Blake foresaw the demise of belief in the inner creativity, the mystical, spiritual or creative experiences;  just as the demise of religious dogmas was in the ascendent during the Enlightenment and Newton's physics brought the age of scientism.  In The Book of Urizen Blake illustrates his concern that reasoning and laws of science limit infinite possibility.  [My post on Urizen]

"Spread a Tent, with strong curtains around them

Let cords and stakes bind the void

that Eternals may no more behold them."

They began to weave curtains of darkness

They erected large pillars around the Void

With golden hooks fastened in the pillars

With infinite labour the Eternals

A woof wove, and called it Science

Much of Blake's poetry and artwork is built upon his insight that "without contraries there is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate are necessary to Human existence."  

"...contraries and oppositions - love and hate, expansion and contraction, opaqueness and translucence, reason and energy, attraction and repulsion, these are the poles of his world, where 'Without Contraries is no progression'. He establishes pairs and couples within his poetry and his art; his painted objects are often placed in symmetry with each other, just as his epic verse is heavily imbued with parallelism and antithesis. In his greatest work he creates giant forms that contain his own contradictory impulses and private oppositions; he establishes a 'bounding line of art or poetry that does not unite contraries but allows them to exist in harmony beside each other."

[Blake Vs The World. Find page]page]

 The very definition of one aspect of being implies the other exists; described by the 600BC philosopher Lao Tsu:

'Being and non-being create each other.
Difficult and easy support each other.
Long and short define each other.
High and low depend on each other.
Before and after follow each other.'

Any concept has its own accompanying concept to define the degrees of either.  Mathematica Universalis (http://heurist.org) works with conjugates, listing abstracts such as 'actuality and possibility', 'enfold/unfold' amongst many.   In the context of their extensions into humanity, he further describes them as having depth as the 'male' agency of focus and action, and the wider scope, the 'female' societal integration.  Depth and scope are tangential to each other.

The Philosophy of Anaxagoras - 500BC - c.428BC

Blake's 'contraries' were expressed as the harmony of the relationship of opposites; a yin-yang balance of conditions.  e.g. hot/cold, near/far.  The terms are not opposites, but conjugates; one aspect of a condition, always being in a certain proportion to another aspect.  Abstractly, any proportion of an experienced or observed condition, will have a counterpart which is less or more of its conjugate.  They are not always in balance, rarely, as their very definition is bound by their distance from their conjugate.  Anaxagoras understood the interrelation of all things, by their having elements of their counterpart.  "Anaxagoras apparently realized those opposites not as "qualities," but as things as things of spatial extensiveness.’"

Whilst imagination is the root of everything, within all developed civilizations, a development which harms humanity sometimes happens. British philosopher Owen Barfield (worked with C S Lewis and J R R Tolkein), said we must take responsibility with imagination. In modern times responsibility is only now being taken by individuals into the evils which science has imagined and now is being meshed with us:  imaginative ideas of mad scientists, biotechtopian plans for a technofied humanity with no sensible control.

Further Reading on the imagination and 'contraries'.

Returning to the Essential:   Selected Writings of Jean Bies

Chapter 19 : The Harmonics of Unity.

'...Antagonisms are complementary, that the entire universe, in its microscopic aspects, is where these never-ending transmutation of a unique energy, of every more complex attractions and repulsions occur.  It results in the unification of the contradictory aspects of Reality: continuous-discontinuous, seperable-insperable, living-nonlivng, permanent-impermanent.  It reveals that all phenomena are of a communicative and interactive nature.'

'At the very heart of the matter recent explorations have revealed other conciliations, such as the one of waves and corpuscles, in which one aspect or another prevails according to the situation. The “inseparability” of phenomena illustrates the fact that although very distant, these phenomena can act among themselves as if there was no distance between them. It makes you wonder whether, at a certain level of the Real, instantaneous relationships exist between all the points in the universe.'

[The aspect William Blake refers to is the natural regulation of one aspect being defined by the lack or difference. Warm is only so because it has less cold. Light is only so because it has less dark... etc.]

01 Oct

Poppy Pods Eleven Painting

Amelia Hoskins / Art / / 0 Comments

Experimental painting on wood.  The colours explore the effects seen in the dried seed pods.  Lilac and aubergine were emphasised in the final version.  Central background shape is a birds eye view over a poppy pod; seen as cream tops in the painting. Deep blue-green multi fused background application acts as contrast with deep space connotations.

27 Apr

Resonant Ideas

Amelia Hoskins / Art / / 0 Comments

Illustrations and designs are 'resonant' when they reflect a sublime order or understanding of nature and the cosmos which resonates with the observer.  Aspects of colour and tone can have similar effects as music or poetry, connecting human thoughts and emotions, which artists have explored to understand the human condition and history.

Art which connect ideas

Image of cross with circle pattern connects spirituality of religion. The light behind, appearing as a glimpse, represents spiritual illumination in this setting. Photographic observation connects resonance of meaning.

Tulip Sunset Silhouette

Flower silhouette resonates with Celtic cross image by way of its shape (circular with stem) and its background of sunset.  The Celtic circle is likely representing life from sun, as does the flower form which 'resonates'. People feel a poetic resonance in sunsets.

My plant photography is drawn towards shapes reflecting aspects of the cosmos, such as stars or spirals, a resonance with universal nature.

Artists and Resonance

"Peace and Plenty and domestic happiness is the source of sublime art'"   ~ William Blake

 

William Blake was concerned with resonance; showing meaning through his poetry, illustrations and paintings. Two aspects of Blake's concern - 'heaven and hell' - family happy lightness vs mankind's struggle.

'Teach These Souls to Fly' - A mother guides her baby to fly in lightness and happy colours.

'Second book of Urizen' - Blake's mythical figure Urizen from a series of related works, is always depicted as being part of the struggle of humanity, controlling, forcing things, working against harmony. In this painting he has a red orb which may signify the world on fire with wars, as Blake lived through the French Revolution and free America. More on Blake 

The Value of Vision - Art for the people or as artist self indulgence

Popular, commercially viable art has to be valued by the majority of people. Most people want to see 'pleasant' 'nice', 'pretty' representations of the world, which is why nature photography is perennially popular; because nature always shows balance of design.  People also recognise emotional stories they can empathise with, so artists who can show this are respected.

Nature images please us by reminder of the natural world or of abstract ideas which portray a vision: then we might say by comparison that art which does not have an inspiration from 'beautiful vision' lacks a philosophy which might be important to communicate - and ultimately to enhance society in any era.

Art is made when the artist wishes to resonate with a perception he has.  We can ask if there can be a point at which such expression has little or no quality to resonate with viewers:  whether it is a 'good' or 'uplifting' visual experience, or mere subjective self indulgence. Art Nouveau, Pre Raphaelites, Romanticism and Impressionism depict uplifting images and scenes.   Surrealism and some Abstract Expressionist painting expressed 'angst'. [Ernst war, Kooning women]

All art is a synthetic representation of life experience, as seen or felt by the artist.  However, if we hold that art with a powerful resonance to move people inspirationally is beneficial to society, then we can suggest that 'Synthetic' art may be considered as having been made with no real 'vision' to resonate inspiringly with others.

With some art the meaning becomes confused, obfuscated or meaningless; nowadays seen in 'synthetic' art. [link]  Postmodernism has had a strange influence on art which has come to light in exhibitions and public sculpture, where it has become more concerned with political agendas and nihilism.  In an era where we do not experience war first hand, people seem to invent their own persecutions as victims.

Photographs can be purchased in full size resolution and up to 55 inches wide. Please enquire amelia-jane-hoskins@protonmail.com (To be marketed in future when paper/material decided). Mural commissions taken for any image, or adaptation thereof.