*

*

Acknowledgments:

David Lowenberger,

Jiddu Krishnamurti (1895–1986),

Carlo Giuseppe Soarés (1892–1976).

*

Introduction

An artist’s Manifesto by Ricardo Morin:    Viewing of his Jersey City art-studio where he engages with his paintings [2005-10]; some artworks are in progress and some are part of a recently finished hanging scroll series, entitled Metaphors of Silence. http://www.ricardomorin.com/

*

Metaphors of Silence (2005–2010)

Studio Videography Transcript (Edited in Prose)

From 2005 to 2010, the work expands on questions dealing with perspective, synthesizing concepts of pictorial space and infinity that have been present over the years.    Painterly abstraction and plasticity are allowed to express, both in form and in content, a kind of art that moves beyond a material world of signs.

The paintings reach toward the infinite, toward mystery, and toward the poetry present in each individual drama.   Although situated within twentieth-century aesthetics, the work does not align itself with a specific historical movement or with a postmodernist agenda.    Making art is approached as a fleshy product of human experiencing, a result of the maker’s own passion.

The idiosyncrasy of the individual, indivisible in nature and blind to causality, is held within an aesthetic frame that embraces all essences.   The image appears as a residue: non-objective, timeless, and at times existential.    It does not seek to explain experience.   Rather, it manifests itself and invites interpretation from the observer.

The finished work stands on its own.   The viewer may come away with the sense of a generative completeness, as if a universe were making and remaking itself.

“Metaphors of Silence” suggests that the verbalization of aesthetic reality implies its own ending. No matter how precise, words resist the magnitude of that reality.    The actuality of art may remain unseen if it arises within a fragmented spirit, shaped by formulas, gratification, or condemnation.

Art is not sustained by the prejudices of the observer, nor by the need to attract attention through eccentric stimuli.    It is found instead in the open space of silence, in the stillness of meditative contemplation, and in the freedom to observe without the control of the observer.

In that state of heightened attention, questions become unnecessary and responses diminish the act of observation.   This aesthetic is not derived from accumulated experience, from association with the past, from the search for an audience, or from the demands of a prevailing market.

These currents are not governed by awareness or unawareness.   They do not pursue fulfillment, nor do they arise from vanity or choice.   They are manifestations common to all, defining what exists beyond ideas and words.    They operate creatively without dependence on the noise of knowledge and remain outside measurement and classification.

Within that obscurity, a vital energy unfolds, moving beyond limitation and isolation.   Creation appears as a process of awakening and renewal within every relation.   To participate in the movement of life requires a continuous release from conditioning.

The creative act is not an accumulation of knowledge.   The figure of the “creative genius” marks only a stage within the process of deconditioning, and it cannot become knowledge if confined to individuality.   The eye, bound to duration, may seek moments of inspiration, but those moments do not constitute creation itself.

Creation occurs in that which reaches beyond the moment toward continuity.

In this relation to art, the aim is not self-fulfillment, but the expression of an underlying interconnectedness.

*

---

Metaphors of Silence (2005–2010) by Ricardo F. Morín

Studio Videography Raw Transcript

 

0:07

From 2005 to 2010, my work expands on questions dealing with perspective,

 

0:14

synthesizing concepts of pictorial space and infinity, something I have worked on over the years.

 

0:23

I have allowed painterly abstraction and plasticity to express, both in form and in content,

 

0:29

a kind of art that goes beyond a material world of signs.

 

0:38

My paintings reach for the infinite, the mystery, and the poetry in every man’s individual drama.

 

0:44

Though immersed in twentieth-century aesthetics,

 

0:52

I neither strive for a specific historical movement nor for the postmodernist agenda.

 

1:01

Simply, I look at making art as a fleshy product of human experiencing,

 

1:08

a resultant of the maker’s own passion.

 

1:15

Just as the idiosyncrasy of an individual, indivisible in nature, is blind to causality,

 

1:25

an aesthetic frame embraces all essences,

 

1:32

and the image is only the result or residue non-objective, timeless, or even existential.

 

1:40

In this sense, the image seeks not to explain what the meaning of experience is;

 

1:48

rather, the image manifests itself, provoking interpretation from the observer.

 

1:56

The finished work stands on its own.

 

2:06

The viewer comes away, I hope, with the sense of the work’s generative completeness,

 

2:15

of a universe making and remaking itself.

 

2:23

Metaphors of Silence.

 

2:31

The verbalization of an aesthetic reality implies its own death.

 

2:38

No matter how precise, the very accuracy of words resists the magnitude of that reality.

 

2:46

Seeing the actuality of art may never take place

 

2:53

if born in a spirit fragmented by the illusion of formulas,

 

3:01

immured by gratification or condemnation.

 

3:08

Art is not sustained by the avarice of a prejudiced observer,

 

3:16

nor is it derived from eccentric stimuli meant to draw attention to itself.

 

3:23

It is found in the open space of silence,

 

3:32

in the stillness of meditative contemplation,

 

3:40

in the freedom to observe without the control of the observer.

 

3:48

With heightened attention, questions become unnecessary,

 

3:56

and responses trivialize the act of observation.

 

4:03

This aesthetic is not the product of experience,

 

4:11

nor the association with the past,

 

4:19

nor the search for an audience,

 

4:27

nor the product of a prevailing market.

 

4:34

These currents are not aware or unaware;

 

4:43

they do not propagate fulfillment,

 

4:50

nor are they the product of egotistic or vain ritual.

 

4:57

They are manifestations common to all of us,

 

5:06

that which defines us beyond ideas and words,

 

5:14

that which operates creatively without dependence on the noise of knowledge,

 

5:23

that which is not suited to measurement or labels.

 

5:45

Within obscurity, a vital energy unfolds beyond isolation.

 

Creation is the awakening and renewal present in every relation.

 

If we are to join in the movement of life,

 

freeing ourselves from conditioning is a continuous creative process.

 

The creative genius is only a stage in the deconditioning of the self,

 

which cannot become true knowledge if confined within individuality.

 

The eye, bound to duration, may seek moments of inspiration,

 

but such moments are not part of the act of creation.

 

Creation belongs to that which reaches beyond the moment toward continuity.

 

In this relation to art, I do not seek self-fulfillment,

 

but express the interconnectedness of humanity.

 

Acknowledgments:

David Lowenberger,

Jiddu Krishnamurti (1895–1986),

Carlo Giuseppe Soarés (1892–1976).

Tags: antropology, art, education

This entry was posted on November 24, 2010 at 2:30 pm and is filed under On the Nature of Perception and Human Interconnectedness, On the Nature of Visual Art. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.