OUTDOOR ART: syncretic gnostic elemental.

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Outdoor art: a philosophical guide to its place in the tropics.

Choose a locale or chance it?

The dry and wet tropics dizzying array of abstractions obscure philosophical freedom and determinism. Pragmatically it’s about the general sense of expression as to what is space with freedom to express an art value. However the presence of humidity and other climatic variables set the deterministic tone to outdoor art projects. There are various artist reasons for this choice. It may be to investigate abstraction of the landscape through print or through vibrant tropical colour.

Essences of the natural and urban?

Essences are a tricky philosophical concept. So how could outdoor art be part of philosophy? Well, there are both natural and urban features to consider. The notion of multi compositional art objects‘ takes the discussion to a more robust philosophical level. Though briefly, the natural and urban phenomenon share essential features. If essences in nature and urban are interdependent then representational preferences based on the philosophy of essences can influence the choice for outdoor art. For example, a materialist would have a distinct philosophy contrasted to an idealist. Angeles for one might be a modernist abstract for another.

Syncretic forms emerge in art outdoors.

The fusion factor

The actual term ‘syncretic’ indicates a gradual fusion of stuff. It could be properties of nature, but also human culture, ideas, artforms. How does this relate to outdoor art? Well outdoor art is prone to environmental accretions.

Vegetative syncretic

Consider the basic tropical shelter of being under a large mango tree. It offers both coolness and dryness if the downpour brief. The pruning of the tree offers a sculpture in itself as a sort of outdoor arty sculpture experience, without being overly ostentatious.

Tropical shimmers.

Light reflecting off power lines, sky scrapers, and the road seems to intrude on the picturesque. However consider soft light reflecting off a urban raw sculptural work.

Foggy light post tropical downpour.

Foggy light obscures our vision, specially after a tropical downpour. So such phenomenon functions as a multiple realizability principle. It of no surprise that Australian art historical perspectives are arrived at from distinct regional locales within this vast continent.

The travel bug for syncretic art.

Outdoor art has probably its greatest fan base for the traveller. The Travel For Art post explores this topic in further detail. However the core message of the article is a sojourn frees the mind. That is frees the mind from platitudes. Whatever those platitudes may be if at all, travel is the form of a syncretic art transforming the cognitive mosaic.

Outdoor art tropical: philosophical assumptions.

Nature of perception for the tropical.

The phenomenology of perception can be based on a Humes account ( David Hume 1711-1776)) where relative size, colour, transparency is known through direct experience of sense datum.

Humes principle that any term in order to be meaningful must be associated with some experienced impression.

The EMPIRICISTS. R.S. Woolhouse.

The empiricist claim of direct perception leads to questions around lived experience. However, this brings up the question of authenticity.

Lived experience for the tropics!

Why would that be?

Its a localized phenomenology

How is art localized by the artist?

In a sense art is site specific

Though isn’t art transported globally?

transcends the locality by token of being consumed as a global artefact based on globalization and the commodification of art

Art of combinations: early modern philosophy as forerunners to outdoor art.

The preoccupation for seventeenth-century philosophy begins with Rene Descartes’s (1596) central meditations of first philosophy. Substance dualism and methodological doubt feature combinations of mind/body and skepticism/belief binary logic as speculation artforms. 

The two sided approach of art takes up this speculation as a tribute to the early modernist philosophers’ meditations on the ‘new method’ of binary logics.

Gottfried .W. Lebniz (1646) contribution to the ‘new method’ was to show how complex concepts can be reduced to elementary concepts, such as the zero and one binary.

The art of combination is… the science which treats of the forms of things or of formulae in general. That is, it is the science of quality in general, or of the like and the unlike, according as various formulae arise from the combinations of a,b,c etc, whether they represent quantities or something else.

The Rationalists. John Cottingham

What has early modern philosophy to do with outdoor art?

The genera of outdoor art fundamentally are about objects of humanistic production. The art object, by interacting with the environment, changes in both content and form. It would be as if the art interacts with the environment in a syncretic sense. That is through accumulation, and in due course, the art changes from its original form. The artwork as representing the mind pits itself against nature. Its defiant posture resembles Descartes’ mind/body combination, and of art movements historically like that of Romantic neo classicists. Furthermore thinkers such as John Locke places art as a mode of complexity of humanism, so taking art inside and away from the outdoors in a sense.

Outdoor art and the philosophy of discrete essences.

John Locke (1632-1704) theory consisted of real and nominal essences. Locke thought of real essences composed of primary and secondary qualities. Primary qualities belonged to the category early modernists called ‘substance’ (Locke and contemporaries thought of substance akin to early atomists, also known as the corpuscular theory). Secondary qualities belonged to general sensible perceptions of objects. Nominal essences were standard definitions of things. Based on this account, real essences are challenging because primary qualities are not perceivable and secondary properties are superficial by token of depending on primary attributes of substance.

Real essences and the implication for the art object.

The more in-depth analysis of outdoor art objects takes a closer study of Locke’s theory. However, in summary, art objects, according to the Lockean account, belongs to human modes of understanding rather than the world of things.

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Ashram art, India

What has this to do with my art practice?

Since returning from my 2004 travels through India I took up sculpture that produced artforms influenced by certain philosophical schools from the sub continent.

The context of art denotes the pursuit of humanistic concerns  through outdoor art. It is because of this constrained perspective the overview takes only a small section that I have personally encountered in greater and lesser degrees of participation since 1984

Artistic mobilization for outdoor art communities

The sculpture and outdoor art in general are influenced by the following inter cultural factors.

  • reformist Hindu movements
  • have a strong international following, as within Osho commune
  • Affiliated with United Nations as do the Brahma Kumaris
  • advocate forms of ego transcendence through meditation, as a methodology of Ramana
  • art in a liberal sense of free expression to integrate personal identity over time. as Aurobindo

Modes of artistic activity

Neo transcendentalism through art

A feature most prominent in the groups I encountered from 1984 up to 2018 is a commitment to transcend the standard ways of thinking and perceiving a person. I explore this notion in the article A sculptural odyssey. This is where the idea of a soul as the animate feature of the human animal takes on ascriptive resemblances to a stone sculpture. The act of sculpting the icon gives the inanimate stone a animate soul like property through name and form. What is new about this in a modern capitalist phase of industrial production is the art as a mode of production that also acts as a humanistic pursuit for transcendence from the animate into the icon’s vision. 

Chakra tropical

Outdoor tropical art: principles and practice.

Construction of chakra tropical.

The units on the Cuban royal palm are speaker units coloured to resemble art of classical Indian metaphysics of energy zones known as “Chakra”.

Tropical palms have a vibrant sense and easy to sculpt so ideal for outdoor tropical art. The general philosophy is discussed further in the article outdoor art.

The urban sense of place as related to palms.

Mixed media sourced tropical

The tropical sculpture use of mixed media in the form of various bits of electronics, as well as resin and thick paint make this a mixed media construction. A specific eight point account gives a methodology for approaching a project from the conceptual to the sculpture. The use of raw objects and construction material can be balanced with placement of photographic prints so as to give the works a thematic depth.

The palm as a living energy sculpture.

Chakra tropical as a homage to yoga phenomenology.

North Queensland palm sculpture

  • There is an abundance of urban palms for sculpture in Townsville.
  • Chakra tropical reflects the vibrant sense of place.
A mixed media palm, sound system parts, paint, resin sculpture by artist Italo Giardina, FNQ, Townsville.
Chakra palm sculpture
What sort of a palm?

A Cuban royal palm .

Why was it cut down?

If very tall, and roots become exposed in conjunction with strong winds like a cyclone they can cause damage to urban infrastructure. palm climbed for deseeding in Townsville

Can I view the initial process?

There is footage of the palm climber

What other body of works does this belong to?

Its part of the retrospective series

arte povera Australia

Art profile of Anselmo Giovanni

Anselmo , Giovanni. Born in Borgfranco d’Ivrea, 5 August 1934.
Associated with Arte Povera movement of which he was a member. Exhibited in Galleria Sperone, Turin 1968 up to 1987
Style: balancing cubes, floating bubles, suspended sheets of plexiglas and hanging chains, Anselmo had abandoned the traditional picture plane in an attempt to create a more direct representation of the themes of gravity and movement. He was striving for an immediate relation to the real world, both visible and invisible.
( Roberto Lambarelli)

Reflections on elements of style

Similarities that I have with Anselmo and Arte Povera.

Poveri art

Set of four suspension representational forms of travel, high mountains, disposable foam

What is angular momenta?

Artworks as particles

The intentionality of these works

There is a philosophical impulse to this project. It is the theory of extending memory as art object from a locale. It theorizes modes of semantic associations. There is an association between marks. Each mark projecting into a possible world. This depicts by the angular nature the artwork. The assemblage ascribes its positionality where the momenta is a position in relation to the anchor points. An anchor point on the periphery of a boundary acts as a space time, or box type universe. The box is a simple monad structure resembling a poverty of complexity but not profoundly interesting to observe.

Italozazen

206 Kerema street
Townsville 4811
Australia
Phone: 0428172550

Mixed media conceptual arts in Townsville, FNQ.

Mixed media dry tropics artist.

A mixed media artwork by Artist Italo GIardina based in FNQ, Townsville.

The ideal locale for mixed media conceptual. Set within a light industrial zone near to Townsville. So this city also gives ample excess to country.

What makes this mixed media?

  • an interdependency of media for conceptual purposes.
  • the use of fine artist oils to industrial fiberglass.
  • a combination of resin as well as natural fiber and stone.
  • also photographic elements through a layer of resin.

Photographic elements.

  • a consideration of various points of view.
  • set of sequences for narrative purposes.
  • an overarching conceptual element.
  • function of print as figurative manifest image over the scientific abstractionism.
Is there a general article on the philosophy of mixed media art?

Outdoor art: a philosophical guide

Art there any artworks about current events

Mask up

The nature of time and art

A notion of past present and future seems simple to understand. I exist at a present though my memories are of past, while my intentions are about possible future states of affairs. The self exists within modernity as a vague cultural object. The artworks presented ostensibly represent this process, as the fish moves into the future, leaving its past behind depicted on the other side of the plate. The present being the ridge joining the two sides.

“THE ARROW OF TIME”

UNKNOWN AUTHOR

An A theory or time and the B theory of time.

This relates simple to a couple of theories of time. The A theory simply places time as a past, present and future states, where as the B theory of time places a before and after as the only relevant states to explain time.

So what has this to do with creating a tangible artform. The methodology of a theory of time will have a profound impact on the sort of artform. The A theory of time is more in line with a humanist approach to nature whereas the B theory of time is akin to the scientific view of nature. The classic analogy is the rationalist figurative approach that resembles the neo classic refinement placing the human form at the centre of the universe followed by Romanticism that place the human within a turbulent natural world. The modernist phase really took all figurative elements apart leaving a before and after series of events that aligns with the B theory of time.