A New Vision of a Certain Place at a Certain Time
A Unified Field of Curved Light-Time-Art Projected onto Flat Space-Time-Art
A Unified Field of Curved Light-Time-Art Projected onto Flat Space-Time-Art
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So The Loathing Begins
(Tornillo, N.M. protest of Trump's separation & incarceration of immigrant children)
Oil on canvas, wire, cyanotype and enamel on printed t-shirt, mannequin , German WWI helmet,
DV projection: Tornillo N.M. detention facility protest of Trump's separation and incarceration of immigrant children
(Canvas 24in. x 48 in. Mannequin 27in. x 20in.
Overall dimensions 49in. x 48in.)
(Tornillo, N.M. protest of Trump's separation & incarceration of immigrant children)
Oil on canvas, wire, cyanotype and enamel on printed t-shirt, mannequin , German WWI helmet,
DV projection: Tornillo N.M. detention facility protest of Trump's separation and incarceration of immigrant children
(Canvas 24in. x 48 in. Mannequin 27in. x 20in.
Overall dimensions 49in. x 48in.)
Textured momentism is
A Certain Place at a Certain Time
Our experience is that we live every moment at a certain place at a certain time even though all time (the past, the present, and the future) and all space were created encompassed together at one inception. Just as all space is out there, so is all time (according to Einstein and 99% of physicists).
“I have realized that the past and the future are real illusions, that they exist in the present, which is what there is and all there is.” – Albert Einstein
How do we discern and decipher between the living, the universe, and the history of every interaction? Our visual, tactile, sonic, and oratory senses enable us to live within a perception – but that is limited within the human experience. How is it that we experience consciousness progressing one moment at a time even though all space and all time theoretically exist at once? As your consciousness is at a certain time and at a certain place -- then all consciousness from all sources exist at once in all time. The question is why are we at a juncture called the present moment if the entirety of it all is all around us?
Art and painting were a way interpreting and capturing the universal experience and timeless quality of memory, myth and the mystery of existence. This, in part, has evolved today into the construction of fictional narrative and the documentation of perceived reality that can now be recorded on the digital spine of 1’s and 0’s.
The Simultaneous Quality
“It’s the simultaneous quality. When you look at a painting, you get everything immediately. In painting you get the beginning, middle and the end – and then you get the beginning, middle and end again.” - Julian Schnabel
Painting is a vignette of a subject in space within time. It’s the oldest of forms in capturing a perception: colored dust mixed with a medium – manipulated to snare a moment, whether a point or a totality. It is an observation of texture, light, refraction, and sensuality. What makes the art of painting possible is the acceptance of illusion as an individual subjective experience of reality or unreality. Painting is a tactile and visual preservation of time and memory in flight given all at once.
We Prime Ourselves for Illusion
“When we experience a film, we prime ourselves for illusion. We make way for it in our imaginations.” – Ingmar Berman
As is our own visual experience of living and reality -- film and cinema exist in our minds as images being projected by light refracted: imagery, dreams, and impressions. Film time is not real time – as our time is but a perception. In the totality of it all – there is no absolute time. With the motion picture, the viewer experiences an ongoing, evolving, documentation of fictional narrative, reality, or both. The audience is aware that it is artificial -- though it may seem immersive and real. In capturing an essence, it’s the tension between the real and the illusion that makes its impact as the audience watching the motion picture becomes emotionally part of it.
There Is a Fundamental Distinction
“There is a fundamental distinction between a still picture and a movie… You bring your time to the painting; the film imposes its time on you.” – David Hockney
The deconstruction of the fundamental distinction of time and its place may be accomplished by restructuring the relationship and dichotomy between stasis and movement, painting and moving vision, the present and memory, solidity and the ephemeral, reality and perception, and form with the formless. A timeless quality of the perceived concept of a certain place at a certain time can be blurred and even annihilated by precisely converging a space and time with all that is represented by the disciplines of painting, sculpture, video and cinema. In the course of the video and cinematic narrative within Textured Momentism, the set (the painting) does not dissolve but instead remains as a structural element in the place and time of the piece.
All Elements Affect and Transform Each Other
“I believe all the elements… should affect and transform each other. Without transformation, it isn’t art.” – Robert Bresson
Textured Momentism immerses the totality of painting with the impermanence and transition of digital motion. All the elements affect and transform each other in creating multiple exposures revealing the different states existing between the reality and perception of the past, present, and future. Textured Momentism is a new way of representing space, light and the subjective and fleeting sense of existence and identity in relation to what we know of time. It is a representation of space within space and time within time. Textured Momentism is a view of a different reality of a certain place at a certain time given all at once merged with the illusion of recorded memory. It's the analog and the digital combined in a form of Trans-Perspectivism. Our visible reality is the sensation of being immersed in space, light and time in the here and now. But a fresh concept of reality – a more in depth, and perhaps a more accurate reality, is explored with a new transformation in viewing and perspective within the existential dualities of stasis, movement, and memory using a new language within Textured Momentism.
Juan Galceran
Our experience is that we live every moment at a certain place at a certain time even though all time (the past, the present, and the future) and all space were created encompassed together at one inception. Just as all space is out there, so is all time (according to Einstein and 99% of physicists).
“I have realized that the past and the future are real illusions, that they exist in the present, which is what there is and all there is.” – Albert Einstein
How do we discern and decipher between the living, the universe, and the history of every interaction? Our visual, tactile, sonic, and oratory senses enable us to live within a perception – but that is limited within the human experience. How is it that we experience consciousness progressing one moment at a time even though all space and all time theoretically exist at once? As your consciousness is at a certain time and at a certain place -- then all consciousness from all sources exist at once in all time. The question is why are we at a juncture called the present moment if the entirety of it all is all around us?
Art and painting were a way interpreting and capturing the universal experience and timeless quality of memory, myth and the mystery of existence. This, in part, has evolved today into the construction of fictional narrative and the documentation of perceived reality that can now be recorded on the digital spine of 1’s and 0’s.
The Simultaneous Quality
“It’s the simultaneous quality. When you look at a painting, you get everything immediately. In painting you get the beginning, middle and the end – and then you get the beginning, middle and end again.” - Julian Schnabel
Painting is a vignette of a subject in space within time. It’s the oldest of forms in capturing a perception: colored dust mixed with a medium – manipulated to snare a moment, whether a point or a totality. It is an observation of texture, light, refraction, and sensuality. What makes the art of painting possible is the acceptance of illusion as an individual subjective experience of reality or unreality. Painting is a tactile and visual preservation of time and memory in flight given all at once.
We Prime Ourselves for Illusion
“When we experience a film, we prime ourselves for illusion. We make way for it in our imaginations.” – Ingmar Berman
As is our own visual experience of living and reality -- film and cinema exist in our minds as images being projected by light refracted: imagery, dreams, and impressions. Film time is not real time – as our time is but a perception. In the totality of it all – there is no absolute time. With the motion picture, the viewer experiences an ongoing, evolving, documentation of fictional narrative, reality, or both. The audience is aware that it is artificial -- though it may seem immersive and real. In capturing an essence, it’s the tension between the real and the illusion that makes its impact as the audience watching the motion picture becomes emotionally part of it.
There Is a Fundamental Distinction
“There is a fundamental distinction between a still picture and a movie… You bring your time to the painting; the film imposes its time on you.” – David Hockney
The deconstruction of the fundamental distinction of time and its place may be accomplished by restructuring the relationship and dichotomy between stasis and movement, painting and moving vision, the present and memory, solidity and the ephemeral, reality and perception, and form with the formless. A timeless quality of the perceived concept of a certain place at a certain time can be blurred and even annihilated by precisely converging a space and time with all that is represented by the disciplines of painting, sculpture, video and cinema. In the course of the video and cinematic narrative within Textured Momentism, the set (the painting) does not dissolve but instead remains as a structural element in the place and time of the piece.
All Elements Affect and Transform Each Other
“I believe all the elements… should affect and transform each other. Without transformation, it isn’t art.” – Robert Bresson
Textured Momentism immerses the totality of painting with the impermanence and transition of digital motion. All the elements affect and transform each other in creating multiple exposures revealing the different states existing between the reality and perception of the past, present, and future. Textured Momentism is a new way of representing space, light and the subjective and fleeting sense of existence and identity in relation to what we know of time. It is a representation of space within space and time within time. Textured Momentism is a view of a different reality of a certain place at a certain time given all at once merged with the illusion of recorded memory. It's the analog and the digital combined in a form of Trans-Perspectivism. Our visible reality is the sensation of being immersed in space, light and time in the here and now. But a fresh concept of reality – a more in depth, and perhaps a more accurate reality, is explored with a new transformation in viewing and perspective within the existential dualities of stasis, movement, and memory using a new language within Textured Momentism.
Juan Galceran