Posted by: Xhyra Graf | 12 July 2006

Objective vs. Subjective

As we sat in the dark on creaky chairs in the little room in W10, I remember wondering what kind of room a physics alumni would be given to do a visiting lecture. I felt the little wave of pleasure as I saw that familiar piece. The tendrils of synthetic material rose into the air next to each other in what seems to be varying shades of green and as the light hits them they have a quiet, elegant kind of life about them. I heard the familiar, “But” and felt my hackles rise as the soulless bastard leaned forward in his chair and asked her just how much of the placement was considered and how much was accident. Why do people always think that artists obliviously ride the wave of uncertainty and claim happy accidents as creative genius? There isn’t an artist in all of art history that isn’t there through diligent application of some internal logic to the external world. Even the drunken obsessiveness of Pollock represents the use of an intelligent approach to a newly discovered form of expression. The thing that perpetuates the spookiness is not coming to the realisation that most minds are very directed even if their logic is off the beaten path. Except for this last bit, I don’t remember exactly what was said as she turned her attention to him briefly, but she calmed me with what I already knew-Yes, the spacing was considered.

“Nothing is an accident, especially if it’s good.” Teresita Fernandez

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