RE-TRANSPRESENTATION (OR INVENTIONS OF A LANGUAGE)
Supposing the creation of art is not about expressing something within the given form such as painting and sculpture nor investigating conventional disciplines, but about inventing a form itself (a form of language or a system of notation) on which we base our articulation per se through associating inorganic matters.
In what kind of spatiotemporality can the invention happen?
In referring to the ideas of polyrhythm and multi entendre, I explore the dynamism that is variably generated by shapes, colors, weights and behavior of materials and attempt to pack the dynamism into a single and static art form/a specific visual language, while I simultaneously emphasize and mediate the incompatibility and the flux between materials.
When we are at a loss for words and are puzzled by a language (a form) that embraces such complexities of plural syntaxes, the peculiar time, which I call ‘the time of transpresentness’, might be generated.
At the time of transpresentness, we are not only able to invent a new way of ‘seeing’ and ‘writing’ about the world, but also to reinvent ourselves (our beings), through acquiring new specific languages in a way in which they become new prostheses for our perception and memory. During the time of invention, we, like the Greek mythological Androgenies, perceive that the transpresentness is grace, and remember what we have never known.