Rose

Glen Turner Rose As a mixed media Artist, I am interested in textures and layering of materials and subjects. In this series I have merged 3 elements resulting as the 4th element. The 2 photographic layers were made by winding back an analogue film and retaking the next layer, creating random compositions. Roses from Preston park, layered with a familiar suburban and industrial walk, with a textured traced layer from a plastic Braille map of England leaving a gold/graphite layer upon the surface, make up the total form of the images. The notion of each layer such as the Braille combined with the journey could be interpreted as a journey which is almost completely automated, so I could travel it with my eyes closed, whereas the roses from Preston park persuade the reopening of vision. The Rose represents the antidote of the unseen, or passed by. It’s temporal, yet reoccurring existence assists our comprehension of time, or the looking past of ‘time’ It takes time to travel from one place to another, absorbing all in vision’s path one can take. The rose or an organic geometric form can encapsulate us in it’s stillness, asking for the motion of thought to cease. In the use of gold pigment, the suggestion of “transportation”, to an other state of mind or being coexist’s in the notion of blindness detailed in the trace of braille patterns. The Braille is intended as an informative guide, and the luminance of gold instills the notion of “memory-image” Aldous Huxley, describing an experienced state of organic symmetry: None to soon, I was steered away from the disquieting splendours of my garden chair. Drooping in green parabolas from the hedge, the Ivy fronds shone with a kind of glassy, jade like radiance. A moment later a clump of Red Hot Poker’s, in full bloom had exploded into my field of vision. So passionately alive that they seemed to be standing on the very brink of utterance, the flowers strained upwards into the blue. Like the chair under the laths, they protested to much. I looked down at the leaves and discovered a cavernous intricacy of the most delicate green lights and shadows, pulsing with undecipherable mystery. (The Doors of perception) Awareness and the random element In the process of letting go of the controlled form of composition, the seemingly ordinary can prescribe itself within the realm of the unordinary. Derived from a seemingly chaotic sphere, the result is of a new kind of order, rather like Jung’s description of synchronistic phenomena, which within is a kind of search or questioning, which cannot be answered completely. To answer, what is an experience, is to contain it, in a form of linear language, of which is an opponent to the creative surge found in letting the random element take over. An illustration of understanding of the “creative” synchronistic random order, is the Psychological principle of Gestalt, defined as: an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions in an apparently chaotic world. The central principle of gestalt psychology is that the mind forms a global whole with self-organizing tendencies.