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©2005-2009 ~balancedvidiot
:iconbalancedvidiot:

Artist's Comments

the assignment was to paint a self portrait, representational or otherwise. instead of painting a regular self portrait, i decided i would paint the cocept of no-self, the buddhist doctrine of no-self/no-soul, called 'anatta'. you see, in buddhism, its thought that the concept of self that we are all familar with is an illusion. the idea of you being a seperate being from the rest of existence is a fallacy, an illusion created by what are called the five aggregates. the five aggregates are the elements that construct our illusion. they are: matter, sensation, perception, mental formation, and finally conciousness. the painting itself is a representation of those five aggregates overlapping to create the concept of self.
first, we have matter, symbolized by the universe, the starry mass of existence in the middle. its the physical representation of our world; particles whizzing around, making up the material world we know.
second, we have sensation, which is the large tan-ish mass of brushstrokes on the left. sensation is where we feel either negative or positive, the very beginning of the contrast that will begin to communicate our existence, (sidenote: i took the picture of my painting outside.... the shiny highlights coming off the brushstrokes aren't necessarily there in other lighting conditions). these thick brush strokes are just the beginning of our world, the most basic of our sensation of reality.
next we have perception, the large black criss-crossing lines on the top left. this is where our sense perceptions come in, we gain more knowledge about our reality. patterns start to emerge, things begin to make sense out of the mass of negative and positive in the sensation level.
after that, we have mental formation. mental formation is symbolized by the large circular holes and the oozing green... these are our thoughts, our actions, our karma-creating acts which affect our lives. from the sensations and perception of the previous levels we begin to get a clearer picture of reality. things become more complex (the shapes become three dimentional and more interesting). our existence take a fairly clear shape.
finally, we have conciousness, our awareness of self, the culmination of all aggregates before it. i'm aware of the concept of myself, but i'm also aware of the concept of not actually existence. however, saying that you don't exist and truely realizing it are two different things. i can say it all i want, but until i fully become aware of myself as a non-entity, i cannot become enlightened, i cannot break the cycle of samsara (the endless pattern of death and rebirth that we constantly repeat because of our attachments, particularly our attachments to the concept of being alive and a person). so there i am, sitting at the edge of the universe, marveling at the infinite grandure of the universe and creation. i'm not quite to that door yet, not quite ready to make that step and release myself back to the fold of everything. at least, not quite yet.

this work is important for me... its the biggest painting i've done so far (32 x 24), and i really feel it brings my game to a new level, in terms of creativity and technique. so, i'm quite proud of it. i'm interested in feedback concerning the concept behind the painting and its symbolic execution, as well as just the pure asthetics (color, composition, ect) of the painting. or any feedback really. ... much thanks to anybody who cares to leave a comment.

Comments


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:iconedgeofwrath:
I think that using outer space to represent our world wasn’t the best of choices. Our “world” in my opinion, would be Earth, and more specifically, where you live. I suppose space is technically our world, but when I think of world, I think more so of Earth, as I’ve never been to space. I still think it conveys the ideal you were expressing, but I think it could have been expressed better or clearer for others if you used something aside from space.

With the tan/brown paint, I don’t see how that represents sensation. I like how it drips into the space, and I see how that connects the two, but tan alone as a color representing sensation doesn’t make sense. Don’t get me wrong, I like the color, but again, I would have used a more visually stimulating color, possibly a red, or something brighter, sharper to represent sensation stimulation. However, I understand the simplicity of it, and how it represents early human development. That aside, I like the color and I think it makes the painting look good.

I have to say, I LOVE the crisscrosses representing perception. You said, “Things begin to make sense out of the mass of negative and positive in the sensation level.” I think crosses are an excellent representation of positive and negative perceptions, in that, religion can bring meaning, cause, and contentment in peoples lives, while in others, it can become the source of much frustration, pain, depression, and resentment. Excellent choice here and I like how they blend with each other too.

The fade to pinkish/purplish works nice, but it probably could have blended better. Still looks good though. I like the use of circles. In math, circles are easy shapes to draw, but they can be a bitch to understand, much like life. Getting by each day may seem easy, but it sure as hell isn’t, and this is a great way of saying that. The dripping green makes me think of peoples ties to the earth, and how they can be there, but they’re also not permanent, as there are other things in our lives to worry about.

The very last part, of you sitting on the edge, in the universe, all I can say for that is, it is the most brilliant representation of that, and I can relate to that single part soooooooooooooooooooooooooooooooooo much. The way you put it, is excellent, and this is my favorite part.

Overall, this is now my new favorite thing you’ve ever done. You should be extreamly proud of this, because it is hands down, fuckin awesome man. A favorite now and forever.

--
The Edge... there is no honest way to explain it because the only people who really know where it is are the ones who have gone over. - Hunter S. Thompson

"I'm happy just to be." - DJ Encore
:iconnatyismyhero:
Well, I can't honestly say that I understood everything that you said, or how the painting represents what, but I can honestly say that it is a beautiful beautiful piece of art. The little figure sitting at the edge of the ice thing is absoulutely magical.

--
did you hear what the leading cause of divorce is these days?
what?
marriage
:bulletblue:Avril Lavigne: deserves to be soaked in a vat of honey, placed in a room with red ants and be forced to listen to her own music until she dies. *ch
:iconniwi:
this is the best thing i have seen you do and one of the best ive seen on da ever.

--
"The meaning of music can't be a matter of soothing people."
-Olga Neuwirth
:iconbalancedvidiot:
whoa dude, thanks so much for your comment. i really appreciate your critique as well... its too bad you aren't in my painting class, you would be a real asset to have around on critique days. so, first let me respond to a few criticisms

first, the tan brushtroke stuff... well, you can't see it very well, but there are other hues in there as well, like reds, browns, ect. one thing i neglected to mention about the sensation symbolism is that the brushstrokes are making like a visual pun... they have texture and feeling to them.... in other words, sensation... the paint itself has sensation to it, instead of just being smooth and soft. i don't know how i came to the color choice of tan... or really many of the color choices i made in this painting. but i think i'm contetnt with most of them.
the crisscrossing i think is a little mis-interprested. it has nothing to do with religion (another girl in my class mentioned this association too) ... its not criss crossing crucifixes, but crossing lines, a pattern, a beginning of shape. it represents our world beginning to make sense with the data coming for our sensory input.
the purple blend is a new technique to me called glazing, where thin layers of paint, thinned with a medium are painted over and give a weird luminous effect. i od'nt have it down to a science yet, but i think it worked well enough here. the effect is a layered combination of all the aggregate... none of them are perfect, but they don't have to be.
the little character came out suprisingly well... i freehanded that shit at like 3 in the morning the night before it was due... i like how he's semi transparent, but i wish he was just a little bit more faded and translucent.

anwyay...thanks so much for the critque. i'll keep them in mind when i'm working on this next painting. i appreciate your honesty, and your compliments as well. and thanks for the fav as well. i hope my next few paintings will be of this calibur as well. the trick is keeping up this level of quality... it took alot of creative energy, an energy i hope i can keep consistent.

--
when i die i want to be cremated and made into various shade of gray-scale paint.
:iconbalancedvidiot:
this is the most kind comment i could have possibly received. i am totally honored and humbled. i honestly was hoping you might take notice at this one and commment... your opinion is just so valued and apreciated.. it abosolutly made my day. thank you a thosand times.

--
when i die i want to be cremated and made into various shade of gray-scale paint.
:iconniwi:
i :heart: your work :hug:

--
"The meaning of music can't be a matter of soothing people."
-Olga Neuwirth
:iconthelastfetus:
wow. im glad you commented on my painting because if you hadnt, i might not have ever found this painting. seeing this has made me think i should put a lot more thought into my work. definatley the best thing ive seen on this site so far.
:iconbalancedvidiot:
thanks dude. i really like your gallery, you've got style. i would love to see a little more meaning and though thrown in there, it makes interesting paintings even moreso. anyway, i look forward to seeing what else you got up that sleeve. ... +watch

--
when i die i want to be cremated and made into various shade of gray-scale paint.
:iconwhirlawhim:
I liked the work a lot upon first glance.

And then after reading the thought that went into it, I liked it even more.
I love that you put that much thought into the composition and variety of items in the painting. I think to some extent art should be conceptual, and I really apprecaite that you took the work that far. You pulled it off very sucessfully, in my opinion.

Visually, I was not completely satisfied with the figure at the bottom extending from the door on the flat line. However, after reading about its purpose and meaning, I can understand its being there and I like it a lot better.

I am assuming that the figure is part of the element of consiousness. If you were to explore this idea further in other work, it might be interesting to see if you can depict consiousness more abstractly as well, without the use of family symbols like a door or person.

However, I really like the way you put these together regardless. Its sooo visually intriguing.
As far as other nit picky critique, I feel like compositionally it is a bit heavy on the left, which may be fixed by sliding the door/ head sillouette to the left.

however, this is nit picky and does not diminish the quality of the peice.

I wish I could see it in person, the brush strokes and everything, for even in photo it looks awesome. I love the way each aggregate is depicted in a seperate way, yet they are painted together extremly well. I particularily love the contrast of the circular matrix with the crosses. It get transfixed in the composition at the top, it is soo appealing.

Thanks for posting it. Happiness.

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March 22, 2005
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