From the 1980s chaos was seen as an enemy by determinists, randomness a force to be overcome or denied... For them, chaos was death and disorder, entropy and waste. The opposing faction however experienced chaos as so benevolent, the necessary matrix out of which arises spontaneously an infinity of variegated forms — a pleroma rather than an abyss — a principle of continual creation, unstructured, fecund, beautiful, spirit of wildness. These
scientists saw chaos theory as vindication of Quantum indeterminacy and Godel’s Proof, promise of an open-ended universe, Cantorian infinities of potential... chaos as health."
(from Ong’s Hat – The Beginning)
I've linked this positive view of Chaos Theory with Green's view of her artistic practice:
Metonymy, a term coined by the ethnologist Claude Levi-Strauss "... assigns no specific meaning to signs, as opposed to symbolism, which sets up a direct one-to-one correspondence between a sign and its referent, as in medieval iconography. Rather, it allows meaning to spread 'in all directions, absorbing and conjoining ever new aspects of reality (near and far, conscious and unconscious, present and past …)'. For Green, Aboriginal sand paintings—and, by association, her paintings—are less about form than about meaning; they are not about duality, but fusion and wholeness—an argument that emanates from traditional Eastern aesthetics. If [Clement] Greenberg’s formalism held that all signs point inward, namely, to the medium itself (i.e. that painting is essentially about painting and sculpture is about sculpture), Green affirms abstract painting’s capacity to evoke personal feelings from the unconscious."
No comments:
Post a Comment