Robert LaFosse – NYC Ballet

As if life were shaven,
And fitted to a frame,
And could not breathe without a key
And ’twas like Midnight, some—
When everything that ticked – has
stopped—
And Space stares all around –

c. 1862 Emily Dickinson “It was not Death, for I stood up…”

Swarming Sensation

Fracturing The Fascism of the Frame

 

1. The entire “portrait of the collaborative-self” process is predicated on
possibility and the play of the unconscious mind.

2. Permission. The “portrait of the collaborative-self” portrait process/
experience is about allowing one to reclaim the authority of one’s
imagination. Imagination being the only source of real freedom we possess.3. These images are created/built/painted/constructed out of open ended
conversation between myself and the subject…possibility. These images are
built out of the play of imagination in and with paint and/or paper. All of
the marks are made by the subject…their art, their heart.

4. These images are built of imagination and possibility, and traditional
framing kills-off and flattens imagination and possibility.5. Imagination and play are active…..framing is “life shaven” – the absence
of breath.6. Framing is essentially a lie…where ever it is found. Framing is fascism
of the conscious mind at 90 degree angles.

 

The Swarm

Our eye, insatiable and in heat. – Gauguin

7.  To escape and avoid the violence of “definition” that is the frame, I have
continued with honoring possibility and the play of the “paint and paper” by
“swarming” layers of paint, paper and line to the image such that the final
presentation becomes sculptural. The work now exists in three dimensional
space and is not flattened to the wall. This re-animation of the work allows for
unlimited configuration of the entire work…both physically and in the scanning
eye of the viewer.8.  This is more active seeing…the presentation does not predict or profess any
answer or one way of “seeing”. Lifted from the tyranny of the wall, these images
come with their own oxygen supply and ventilation. The tactile participation of
depth. The eye alive…heat, rhythm and sensation dancing in the shadows.9.  By confounding “edge”, this assemblage (sculptural) of presentation
acknowledges/stimulates the space outside the image as well as the image itself.
Sometimes external line crosses and invades the image space. No hierarchy. The
eye is kept active. Mystery is courted. Stuff is going on. Some of the images have
been torn and taped and painted into. There are pulleys and ropes. The delicate,
unstable “clip” of paper and print also acknowledges mutability.10.  Nothing is hemmed in by explicit measurement….there are variable
dimensions that are textural as well as visual. 2D and 3D. The entire work stays in
touch with possible participation, enchantment and heart.11.  These works animate the viewing experience/participation in one additional,
very inter-active way. There is no way one looks at these images and does not stop
to wonder; “given the paint, paper and permission,………….what would I do?”
Given enough paint, paper and permission, there’s no telling where we might end up. – bill hayward
©bill hayward – NYC 2013