86.3 x 91.4cm Acrylic on canvas, with pen & ink and sparkles


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Category: Art
Goby’s Journal: Harihara
We learn from Freud, as from novelists and poets, if we learn anything at all, that we can never “know ourselves.” We fool ourselves in too many ways, and what we are, our Truth, is never fixed, but always moving, always becoming, becoming something else. How much more the difficulty, when the object of our knowledge is at a great distance.
Or is it the other way around? –the closer to the center (should I say, the heart of our being?) –the less we understand, the less we can claim to know?
Closest to one we love, our knowledge approaches a zero point–though knowledge (always imperfect though it is) circles all the while like stars in a galaxy around the black hole of love, of self–around that center–with ts power to draw toward its eventual horizon–all that we believe we know: self & beloved, & love itself– & yet, remain untouched by mind–untouched, above all, by language, even while, in ways beyond our power to know–there from that dark, unfathomable pool, emanates the forces that shape language, all that we know, think–or think we know.
Is that how philosophy came to be captured in a word for love? And how, all the arts, all that has power to bring us to the end of knowing–are of the annihilating & generative power of love?
Love, the word we give to that manifold desire that can’t be named, or tamed–destroyer and creator of good & evil, end & beginning of all that we make & do, fusion of Vishnu and Shiva… Harihara.
Abstract Harmony
It takes time to see a painting. I like that an abstract, or non-representational work (they’re ALL ‘abstract,’ when you get down to it)… gives little or nothing back at a glance. You can’t walk by and say to yourself, ‘nice waterfall.’ It refuses to be reduced to one of the ready made identity tags people hold in store to stick on the art–an act of dismissal, really.
It takes time to actually SEE any work of art. And more than one viewing.
Painting for me, is a retreat from words. I can appreciate works that are are rich with literary allusions, or symbolic puzzles (Van Eyck;s Arnolfini Wedding — an endless maze of riddles!) — but they are for another time, another age.
Living, as I do, in this Empire of Money and Death–language is too deeply corrupted. Even much of the language of abstractions… but there, at least, I can offer my refusal to words. What that refusal means.. is for the viewer to figure out.
#678
19.5 x 25cm Pen & Ink, Watercolor


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#677
13 x 40.6cm Pen & ink, watercolor, on wood with gesso ground.


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#676
23 x 20xm Ink & watercolor. I want to call these recent pieces, ‘Prophesies,’ but of what, I have no idea.


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#675
22.9 x 33.5cm Tessa Ellis Plays the Trumpet. Pen & ink, watercolor


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#673
38 x 28cm Pen & ink, watercolor splash, scraps of rusted metal


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#672 Went Down to the Rich Man’s House
23 x 17.5cm Pen & Ink watercolor Anne Feeney: Rich Man’s House


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#671 Gate of Unknowing
18 x 26cm Ink & watercolor on Bristol Paper


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We learn from Freud, as from novelists and poets, if we learn anything at all, that we can never “know ourselves.” We fool ourselves in too many ways, and what we are, our Truth, is never fixed, but always moving, always becoming, becoming something else. How much more the difficulty, when the object of our knowledge is at a great distance.