Wrong

Let's start with a farce: Monolithicism

Space-time is something we think of as one continuous, undulating, plane. As children and into adulthood, we believe that space and time are to be thought of separately. X+Y+Z dimensions plus T as a fourth, and kind of illusive dimension, because Time is relative. So we have 4 dimensions: 3 measurable with physical units and one measurable with temporal, abstract units that together tell us the size and movement of a thing. 

Past adulthood, we learn about fractal self-similarity, which is a maths/science speak for an ancient, intuitive knowledge relating the apparent "sameness" of things to the great variety of things across vastly different scales in the universe. Pursued further, we see that it is not the thing that is similar, but the process by which the thing "becomes" that is similar. Take the general notion of Waves, for instance, and we can go even further and see that the universe is one great giant place of energy transfer.

So when we arrive here, we have to ask ourselves: Why are we are? As part of the universe, what energy are we to transfer?

I am looking towards a deeper understanding of Space-Time by regarding it not as one potentially infinite Monolith that constantly changes, but rather as a collection of self-similar Polyliths that act in the same Space and Time as each other so as to produce the effect of "ONENESS". Unity is an illusion.

In a sense they fill in each other. Space-Time, as a function of humanoid memory, is full of cracks and space and holes...Holes in Space-Time. We fill those holes with stories, and those stories become knowledge and after measurement we allow them to become Truth. And Truth becomes ONENESS.

I read today that the Universe is not physical but is rather immaterial Information....While initially exciting and intriguing because of the idea's relationship to our modern notions and desires surrounding the Universe as Machine, I reject this notion for the simple fact that I do, and you do, EXPERIENCE the world in a physical way. YET, we can EXPRESS our experience of the world through word, number and letter....or, information. 

Again, the notion of determinism strikes our fancy strongest. Reception, Perception, Experience, Expression, Action, Ritualization. Layers of Space-Time all here dancing before us so romantically that we perceive them as ONE...One beautiful, deftly dodging, sexually swaying, deeply staring, a taking in and yelling out, a bursting pregnant moment that was surely meant to be as it was revealed to us.

But there is always something missing, something we must fill, something we must know, something we must explain and even sometimes ignore.

To this I say that Knowledge is a self-similar layer of Space-Time and that its holes, rips and tears are filled by a type of similarly immaterial Kintsugi. Our most ancient, intuitive knowledge has deep gutted holes that are being filled by contemporary scientific and a-scientific information. Our deepest, longest, most historically experienced AS A SPECIES knowledge has giant holes and can often be completely wrong because over time, things break, they crack, they fall, they smash.

And as a species, a provocatively intelligent species, we are in the position to shape the reconstruction of Knowledge as Space-Time. What shall we fill those holes and crack in with?

Knowledge is Kintsugi. Certainly we would wish to use the most durable and beautiful of materials to fill in our holes. Gold or Silver comes to mind. But perhaps we would prefer to use the poetry of those transformed by an idea, or better yet, by their own personal experience.

I have a very close friend, who I have not revealed my fraternal love for, whose family is considering a very serious loss. There is a crevice between us, one that can only be hinted at, lest we dig too deep and either of us is destroyed by invasiveness. A mining of clay rich to the tongue, however ironically, since the truest gold may lie underneath. There are chasms that can only be filled by the shiniest of metals, if only they could be reached. 

There are Holes in Space-Time

Exit Music #60 (Lost in Translation), acrylic on canvas, 24" x 18", on view at Gallery Girasol, Kitakyushu-shi, Japan. "East Meets West" organized by Noriko Kuehn and hosted by Shunji Shinkai

Exit Music #60 (Lost in Translation), acrylic on canvas, 24" x 18", on view at Gallery Girasol, Kitakyushu-shi, Japan. "East Meets West" organized by Noriko Kuehn and hosted by Shunji Shinkai

Headed east in my mind

All Possibilities

https://www.pinterest.com/pin/202662051956690984

https://www.pinterest.com/pin/202662051956690984

then suddenly south with a red light ahead

where am I going? should I stop?

There are tears and rips

DSCN9673.JPG

memories lost forever filled with pictures and words

a crevice however adorned is still a crevice

Kintsugi http://mymodernmet.com/kintsugi-kintsukuroi/

Kintsugi http://mymodernmet.com/kintsugi-kintsukuroi/

Why should we not be content to leave the void empty?

https://www.algabeth.ro/materiale/granit/granit-black-galaxy/

https://www.algabeth.ro/materiale/granit/granit-black-galaxy/

Nathan Beard

Nathan Beard was awarded a Bachelor of Fine Arts from Colorado State University in 2001 and then worked in galleries and as an Art Consultant in Denver, CO for seven years. He grew up on a dairy farm in western New York. Prior to his university studies, Nathan lived in Egypt for one year as an exchange student and, upon his return, worked as a cowboy in Wyoming for two years. Nathan currently maintains a studio in St. Petersburg, FL, where he lives with his wife and six year old daughter. His work is represented in Pinellas County by ARTicles Art Gallery (St. Petersburg, FL). Nathan also serves as Curatorial Assistant at Dunedin Fine Art Center and as Preparator at Scarfone/Hartley Gallery, University of Tampa.

Recent solo and two-person exhibitions include Left to Right, Howard W. Blake School of the Arts (Tampa, FL) 2017; BROAD SPECTRUM, Highlands Museum of Art (Sebring, FL) 2017; Pond’s Edge, Museum of Coastal Carolina (Ocean Isle Beach, NC) 2016; Confluence of Origins, Gallery 221, Hillsborough Community College – Dale Mabry (Tampa, FL) 2016; Surface Tension (with Nin McQuillen), ARTicles Art Gallery and Custom Framing (St. Petersburg, FL) 2015; Illuminated Silence (with Ya la’Ford), Dunedin Fine Art Center (Dunedin, FL) 2015.

Recent group exhibitions include Skyway: A Contemporary Collaboration, Tampa Museum of Art, Museum of Fine Arts (St. Petersburg, FL), and John and Mable Ringling Museum of Art (Sarasota, FL) 2017; 8th All-Media Juried Biennial, Art & Culture Center/Hollywood (Hollywood, FL) 2017; Bay Life Art Exhibit, Tampa Bay Watch (Tierra Verde, FL) 2017; YES!, curated by Chad Mize, STUDIO@620 (St Petersburg, FL) 2016; Leave a Message, curated by Tes One, Morean Arts Center (St. Petersburg, FL) 2015.

Recent curatorial activities include CONSTRUCT: 16 Tampa Bay artists whose work speaks to the ways in which we build our world, Gallery AIA (Tampa, FL) and Centre Gallery (University of South Florida, Tampa, FL) 2017; WorkingTitle: Inaugural Exhibit (15 Tampa Bay artists curated from the pages of WorkingTitle, produced and edited by Michael Crabb), presented in partnership by ARTicles Art Gallery and the Staybridge Suites (St. Petersburg, FL), 2017.

Nathan anticipates using the grant funds in myriad ways, mainly to demonstrate and fund all aspects of an exemplary instance of collaboration between artist, gallery, designer, developer and arts organization. He has recently been contacted by a designer who is developing interiors for a large development in St. Petersburg. They have asked about reproducing Nathan’s work at a very large scale for the lobby atrium. He is currently developing a mock-up for their approval and the piece he’s creating for the Creative Pinellas Group Show in October will serve as the piece to be reproduced. If the developer decides to pursue Nathan’s work for the project, he will be blogging about the entire process as part of his grant obligations. Nathan also intends to use the grant funds to set up and run his studio/professional art services as a business and to make minor repairs to studio lighting.