In Western society we think nothing of hearing a poem read by different readers, theatre, dance and song performed by different performers, and appreciate anew the origins of the work, in conjunction with the re-performence and reinterpretation. With visual and fine art so much less, and so much less attainable and accessible to the ordinary person. A few performance artists may reimagine and develop work, possibly with interaction with an audience, but, as far as I know, the work has a short lifespan. Some Westerners have acquired the practice of Eastern Ink painting, where a motif may be learned in a fixed form and pattern before the artist makes their own interpretation. Outside of performance where are our patterning aesthetic artforms? I suppose Carnival and Maypole dancing, in addition the their performance aspect have an aesthetic. Bonfire Night and Halloween contain aspects but all are lacking the degree of pattern and gravitas the Eastern cultures have enjoyed.
It would seem that societies flourish when they have a shared cultural heritage, and ceremony appears to be a unifying practice. In the West, becoming ever more secular, we are losing our religious ceremonial bonds. It seems that the artworld may have a place to fill a need.
It is interesting that, as I described in an earlier post, I used, enjoyed and shared one of the few aesthetic modern art "patterns" in the Sumi Ink club before I actually became aware of the notion of a re-iterating visual art form.
“The philosophies of the Cartesian era carried us away from a sense of wholeness by focusing only on individual experience. Ultimately this individualistic focus narrows our aesthetic perspectives as well, due to it’s non-interactive, non-relational and non-participatory orientation. Most artists still see art as an arena in which to pursue individual freedom and expression. Under modernism this often meant freedom from community, freedom from obligation to the world and freedom from relatedness.
The emerging new paradigm reflects a will to participate socially: a central aspect of new paradigm thinking involves a significant shift from objects to relationships.”
— Suzi Gablik, The Reenchantment of Art
Here recurring themes of ovals and circles, discs, portals view through and skies and reflections seem to pervade all I look at record and notice. It is not even through any conscious effort, it seems to happen naturally. My film and the notion of freedom and the metaphor of sky for freedom is something that re-occurs in my later work. I re-use and recycle images, themes and ideas again and again in new ways as my work develops.