Posted by: Rajesh Shukla | December 4, 2010

“Referential Fallacy” transparency of the knower and the known

‘Each spirit makes its house; but afterwards the house confines the spirit’–Emerson

I met Bladsow on the social networking website facebook. We have a kind of new generation friendship: an absolutely  virtual association. Virtual is no more virtual, its as much real as real. Initially we had some chat, email conversations; we tried to understand each other virtually. What I feel in Blodsow is that he is curious about everything, he is open and ready to learn everything. He has no ego whatsoever, he has no prejudices either and I think because of this he can truly dream and speculate. Speculation is good for artists if it has a direction. Blodsow did one day send me some images to look at , it were his new series paintings which he titled “Referential Fallacy-transparency of the knower and known”. I haven’t yet seen his paintings and I have no certain idea about his earlier works. But as Barthes says Painting is an image and image of the image too can speak to us a lot. I will try to read his new series from a distance apart but not as a passive spectator rather an active participating spectator.I would try to enter in his virtual world.
What his new series “referential fallacy” is all about, what his fallacies refer to, and what is relation to the knower and the known in his work? He did not explain anything to me except what kinds of works he did earlier in his alienation and how he arrived at this juncture; in this speculative mode where he could be able to ponder upon signs and codes. Fallacy is not created only through thoughts and ideological contents but it also mediates through the artist’s mediums. Often, medium and process brings transformation to the idea and thought. In his fallacy everything refers to something, its referential but yet something remains invisible and undrawn. His imaginings are somewhat elusive, textural figments that seemed to speak in passing through mutating patternings across which almost unspeakable sensibilities passed. There is something about a new world, a new fallacy; a fallacy refers to nothing but to another fallacy. Blodsow’s marks or brush strokes are irrational, involuntary, accidental, free, and random which are some time representational and narrative yet confused sensations. Images and narratives signify and refer yet looks asignifying. Perhaps, If this sense, those fleeting and confused features of sensation that remained so hard to grasp were to become, transformed from a vague and confused notion to an ‘adequate’ one, much work needed to be done.

A painter who paints from alienation has something peculiar in his disposal, he would certainly confuse us; he speaks reality from another world. Some distinct streams of blood flows around him. In his nights of passion he sees not only Spirits and ghosts but also stars and lightnings. His amorous franzies, antipathies, melancholies, dispositions and madness involved his passion’s moral presidents, its responsibility, in vague way; the real target of this denunciation is the radical relation of the phenomena of madness to very possibility of passion. Somewhere his fallacies refers to this madness. Blodsow narrates the ontological movement of our desires with subtlety and creates new visual intensities. He is not passive interpreter of the phenomena rather he is an active participator in it motivated by higher humanitarian values. In his painterly process various elements plays its role, material on the one hand and various sources of images on the other. He breeds new images and rhythms from the photographs, magazines-newspaper images and the images lying dormant in his memory. Memory plays a major role in the formation of his images, his images are emotional and very much related to his life. In his series one work about Cholmandal artist K. Ramanujan speaks a very emotional story about artist’s relation with him, art and his ideological stakes. He splits memory into past and present but always inclined to move forward referring to past. Important thing about his works is that if his psychic experiences and his narrative is dominated by categories of time; his painting is dominated by the categories of space. His canvases create a breathing space in which life moves, spectators too can move and arrange themselves and participate in ideating images in the theater. He creates a theater in painting. Somewhere his works are theatrical and cinematic. In front of his paintings we find ourselves in a movement by which past and present endures  at each instant .

In his narrative there is a movement of epochs, it is experienced and it is experience in time that has to split and unrolls itself. Present passes on another present while past is inscribed and he seems to exist and experience the movement in the interval so as the spectator. In all this there is something metaphysical about experiences, there is something transformative which artists relates to his inner mental transformation. There is some inner force that gets transformed in the process and being actualized in to the work of art. Blodsow paints several figures in transformative mode, dreaming, pondering, imagining, thinking and deeply involved in fantasies and the creation of a new world. As I see, his transparency of subject-object has something to do with his fallacies and experiences. Its not a divided world of subject-object rather its a world that is one not as an unity but as a magnitude and dimensions which is why its is deeply embedded in each other and passes into each other. In each passing intervals he would migrate and a temporal transformation takes place. Blodsow does not seek truth or finds truth, he believes in the creation of new emotions and truth. Artistic truth must be created, it is not to be found. His majority of works are largely social criticism in which he is participating actively. There is something monstrous about the subject of his current oeuvre. The future can only be anticipated in the form of an absolute danger. It is that which breaks absolutely with constituted normality and can only be proclaimed, presented, as a sort of monstrosity. Silhouettes images in his work says all about his image creation and about his concept and line of flight. Silhouettes creates another kind of vocabulary, its abstract as well as figurative that deconstructs something in the images. Its a new way of understanding and acting upon the world and its images; a subtle passage towards the other of the figurative. Something he intends to leave in the images to form a force, an affirmative one which belongs to the movement of an experience open to the absolute future of what is coming.

–Rajesh Shukla


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