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You may see cubes... If you look a time at them, you will see some cubes "jumping out" of the pattern...
Whether you see the darkness or the beauty in between,
you realize gods miracles are umpteen
a bright sunrise or a gloomy evening,
luscious fields or bare desert,
an ebullient stream or a frozen river,
the beauty is everywhere
unlock your hearts
let the awe and wonder flow
a judgment free perception is all you need!
This is one of my favorite pictures. Taken on my way to work near a small town, Munford, Alabama. It was the magical time in between summer and winter when this beautiful array of trees starts turning white. This picture was taken in between the blocks of wooden fence.
Zag - bit.ly/1LLfkob
Most of what you see and think is a lie. When I first read the title of one of John Stepper's blog posts (John is of Working Out Loud book fame, I wasn't sure what I would find. The title, The man singing falsetto in the ladies' room, definitely attracted me to reading his blog post. And when I read it, what I read was not what I expected, which is exactly what John was trying to do with the title of his blog. If you have not read the article, go read it, it is totally worth the 5 minutes it will take you to read it.
In John's blog post, he highlights that most people will make assumptions about the intentions of an action by another person. We take lots of little pieces of information in based on our observations and then fill in the rest with our imagination. Basically, what we do is fill in all the missing pieces. And by filling in the pieces, we often get it wrong.
While it is not possible in all situations, if you catch yourself making assumptions about someone else or guessing what someone is thinking based on their actions, take a step back and try to assess the full story, ask questions and be thoughtful before making a mistake based on false assumptions.
Go read the article, it is worth it and the punchline is awesome.
Perception is a clash of mind and eye, the eye believing what it sees, the mind seeing what it believes. ~Robert Brault
4me4you Features 'Monsters, Chambers, and Trapdoors'.
Artist: Georgia Dymock
In 'Monsters, Chambers, and Trapdoors', Georgia Dymock explores the idea of identity, saturating her figures with subtle mythological and fantastical traits. In doing so, the artist invites viewers to question traditional narratives and their own perceptions of heroism and monstrosity.
4me4you recently visited Monsters, Chambers, and Trapdoors, a captivating exhibition at Gillian Jason Gallery, showcasing the latest works by Georgia Dymock. In this thought-provoking body of work, Dymock invites viewers into a world where myth, fantasy, and identity intertwine, populated by voluminous, anthropomorphic figures that challenge conventional narratives around gender, sexuality, and the human form. With her intricate compositions, Dymock delves deep into the subconscious, exploring themes of transformation, desire, and the complexities of selfhood.
At the heart of Monsters, Chambers, and Trapdoors is the idea of identity, explored through figures imbued with subtle mythological and fantastical traits. By saturating her creations with elements of the unreal, Dymock urges us to question not only the nature of heroism and monstrosity but also how we perceive ourselves and others. One recurring motif in her recent works is the pairing of figures—often physically close yet emotionally distant. Drawing inspiration from Plato’s concept of the soulmate, where humans were once unified beings with four arms, four legs, and two heads, Dymock explores the aching separation and yearning that followed their division by Zeus. These paired figures, while physically intimate, convey a palpable sense of detachment, creating a tension that highlights the alienation and objectification of the human body. The cold, metallic surfaces of these figures further emphasise their non-human qualities, evoking a chilling sense of robotic detachment.
This disconnection raises intriguing questions about whether Dymock is creating figurative works or abstract still-life. Her abstraction reduces human forms to their most elemental features, transforming them into symbolic objects that invite reflection on disintegration, dissolution, and the fragmentation of the self. Works like Bathers and Octopus Hattake this fascination with hybrid and fragmented bodies to an extreme, using oversized limbs and textured contrasts to blur the line between allure and danger, exploring the complex interplay of touch, attraction, and threat.
Dymock's exploration of "monstrosity" offers a powerful subversion of societal norms, drawing upon a wide range of sources to reinterpret classical mythological figures. Works like Two-Faced and Sucking Thumbs reimagine figures such as Medusa and the sirens, imbuing them with ambiguity, empathy, and playful tension. These reinterpretations challenge traditional depictions of the female body in myth and art, critiquing how these archetypes have been shaped by visual culture. By presenting figures that embody traits deemed excessive or grotesque, Dymock invites viewers to reconsider their perceptions of beauty, power, and femininity, breaking down rigid standards of behavior and appearance.
Throughout her work, Georgia Dymock creates a space for introspection and dialogue, encouraging us to look beyond surface appearances and engage with the deeper complexities of identity. Her practice, which seamlessly blends traditional painting techniques with digital processes, reflects her ongoing exploration of transformation and the fluidity of forms. Beginning with digital compositions, Dymock manipulates her imagery using programming software before translating these elements onto the canvas. Through an ongoing exchange between digital and analog media, her work evolves, resulting in richly layered oil paintings that synthesize technology and tradition in a dynamic and innovative way.
Currently based in London and represented by Gillian Jason Gallery, Dymock is an emerging talent with an MFA in Fine Art Painting from the Slade School of Fine Art (2023), a GradD from Chelsea College of Art (2020), and a BSc in Anthropology from UCL (2019). Her accomplishments include winning the 2023 Cass Art Prize, being selected as a finalist for the 2024 Ingram Prize, and being named one of the New Contemporaries. Dymock's work is featured in private collections worldwide and is part of the institutional collection of the Museum Inima de Paula in Belo Horizonte, Brazil.
Perception/Deception @ BLANKSPACE Manchester
Perception is the process the brain uses to interpret information. Deception is the practices of deliberately making somebody believe things that are not the whole truth.
No two of us perceive things exactly the same way, perception is the making sense of things which may or may not have anything to do with what is actually going on.
BLANKSPACE, 43 Hulme Street, Manchester, M15 6AW
© 2011 Hilton Vasey Copyright of all artworks remains with the artist.
Photography Hilton Vasey
Taken on SLR film - off angled side shot of subject's face with a blur of distraction and business behind her
The morning glass of water for the Old Monk at sunrise and is not Old monk (Rum) on water at sunset ;-)
Videoinstallazione creata in occasione della Festa Internazionale del Circo Contemporaneo 2007 presso il Castello di Brescia. Perception faceva parte di una "composizione" di 4 installazioni che occupavano varie location dei giardini della fortezza visitate dal pubblico durante lo spettacolo itinerante della compagnia francese Chaptel Aleikoum.