Saturday, November 10, 2012


the (urve & the s|raigh|:

Two forces. Two lines that when put against each other create a pleasing aesthetic, so I've learned in art school. But what is it about these lines that create a fascinating aesthetic? They are opposing forces; one soft and the other hard, one gentle and the other sharp. A | shape that can puncture through anything that permits and a C that shields from such a force. An aggressor and a protector. Forces that when put together work within a space to make for an intriguing bout. These 2 lines can be found in every shape of an image and in their most basic and simplest forms appear more striking.
This is why they are often used in productions and advertisements. Advertising has shown a favourable inclination to the bolder and more graphic. There is a need to communicate an idea in the simplest and most striking way, hence stripping down an image that's complicated and muddy in it's delivery of information to it's basic form and presenting it clearly. And when deconstructed it is found that a graphic form is made up of simple and primitive variations of the curve and straight. 

Effective in visual communication and sometimes an indelible mark in the mind, it is the psychological bout within the mind that is projected on to the image that makes it appealing. That is, these shapes of curves and straights communicate something universal in all our collective psyche, and what is observed is a projection of one's self. We are attracted to these shapes because they symbolize a truth within. A truth that sits in the forefront of our psyche or behind it's curtain. A struggle or unity of a bond passed on to us. It is the hard edged solar force of masculinity and the gentle lunar force of femininity. A collective that is at work at all times, in harmony and in turmoil. It is what we bring through upbringing, experience and mostly our parents. 

Two lines of nature and grace, masculine and feminine, solar and lunar and father and mother.

(             |
f            M


Deconstructing a truth:

Deconstructing/stripping is a way of unravelling a falsehood. It is a method to explore many forms of illusory facts, whether in narrative, image or abstraction (idea). In film, it is a cut (edit) or the camera movement that enforces a director's subjective perspective. In my name I have found an interest in my initials (FM) which symbolize my obsession with forces in feminine and masculine and the mother and father. Everyone has a different inner truth, one that is interpreted symbolically outwards. Jung talked about these universal truths in Man and his Symbols. The illusion of truth in the outside world starts with the splitting of the self that is then projected outwardly. The more that the true self is pushed back the more it is compounded with a false self. This is done by being the false child that you believe your parents want you to be. It is easy to accept your falsehood if it is welcomed by the parents and it is a struggle to accept if it is rejected; best demonstrated in teen angst and the colorful and artistic ways they rebelliously present themselves back to their parents.

Splitting begins way back, I'm uncertain how far back. Probably back to inception of the fetus. Some say it is the pain of splitting physically from the surreal and comfortable watery womb world and into the harsh dryness of the outer world. The traumatic pain that will never be experienced ever again in the same way will be remembered deeply in our psyche and in our body. We are all the same because we all have been born. I don't believe there is one moment that splitting occurs but it is many moments which create it. Through experience a sense of self is so varied and so unique and the splitting can be wide or narrow. The less we split our self with our truth the more we will be in harmony with our self and with that, the world that we project our selves on to; the inner harmony will be perceived in the world.

- f

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