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Beautiful Orchid Print

May 29th, 2015

Beautiful Orchid Print

Robert Kernodle Orchid Prints

A well chosen frame and matt can turn an ordinary image into an extraordinary wall hanging.

Abstract Expression NOT Always Emotional

September 2nd, 2012

Abstract Expression NOT Always Emotional

Passion's Shore ORIGINAL
Fluism PAINTING by Robert G. Kernodle

Expression Does Not Equal Emotion

In some discussions about abstract art, I have encountered a strong, implied premise that ALL abstract art SHOULD be concerned with emotions that precede the artistic creation. I also have encountered further implications that art devoid of emotions DURING its creation might be deficient in some way, or that a viewer's EXPERIENCED emotions in an artwork REQUIRE the artist's exuding emotions into the artwork, while the artwork comes into being. My experiences in creating art do NOT confirm such assumptions.

Emotions depend intimately on raw sensory inputs, to begin with. Without such raw sensory inputs, emotions could not exist. Consequently, art can provide the raw inputs from which both artists and viewers realize emotions. Emotions, thus, need not be the inspirations for creating art. In particular, emotions need not be the inspirations for creating what the art world categorizes as "abstract art" or as "abstract expressionism".

From My Experience

For example, I can work on a piece, and I am NOT aware (in the least) of any particular emotions. I perceive the unfolding of a particular color combination or a particular group of patterns, and ONLY AFTER my perceptions of these things do I experience particular emotions. In his way, the WORK creates resultant emotions; precursor emotions in ME do NOT create the work. In other words, I "listen" to the work; I do NOT force the work to "listen" to ME.

In my case, the process of making an artwork is usually drudgery (for the most part). But within this drudgery, I routinely find moments of pure delight that push me through to a conclusion. And the finished work usually produces a sense of great fulfillment. If it fails to produce such fulfillment, then I trash it and start another work that promises to be more fulfilling than the preceding failure.

Exploring Through Trial And Error

In creating an abstract artwork, I am NOT reacting to emotions that are already present. Instead, I am exploring to discover compositions that DELIVER emotions that I simply like. I am NOT expressing anything. Rather, my actions themselves ARE the expressions, in my eyes that physiologically express colors and harmonies within my anatomical measuring system (i.e., my whole body). Human senses themselves are the primal "expressers". The senses themselves are ALWAYS expressing the appearances of the world as ONLY human bodies can experess them. What we call "emotions" are the SECONDARY expressions on top of the PRIMARY expressions.

Human eyes EXPRESS colors. Human ears EXPRESS sounds. Human taste buds EXPRESS "sweet, sour, bitter". Human muscles EXPRESS dizziness, balance, heaviness, and other deep muscular sensations. The human body is an expressive organ by its very existence. THIS is the sense in which my abstract artworks are "expressions". THIS is the basis of emotions that arise from expressions.

Emotional Awareness

Now I DO believe that OTHER artists can work this process in the other direction, where they feel certain emotions first, which they then "translate" into artworks. In other words, precursor emotions CAN, most certainly, exist in these artists, and these precursor emotions drive the work. This is NOT what I, myself, generally do, however. I can think of only one work that I have ever created this way, and, honestly, it did not impress me as any more distinct than works that I created from pure sensory motivations.

All emotions, whether pre-formed or later realized in a person, are first based on pure perceptions, and pure perceptions constitute the broadest domain of abstract art, as I see it.

Flower Philosophy

February 14th, 2012

Flower Philosophy

Juan Ferret (2009), The Power Of Flowers: The Philosophy Of Organism Of The Maya, TRANSFORMATIVE PHILOSOPHY AFTER JOHN H. HADDOX: ESSAYS HONORING 50 YEARS OF MEXICAN, AMERICAN, AND SOCIAL THOUGHT, Ed. Carlos Alberto Sanchez and Jules Simon. Edwin Mellen Press. http://works.bepress.com/juan_ferret/6/

"Flowers are the epitomes of what constitute an organism, and, thus, humans must grasp their dynamic essences. Treated this way, flowers are the most visible and necessary of actual entities. Their connections with the earth, sun, humans, and water are what form them and, in turn, inform those in contact with them. The power of flowers comes from their actual and potential interactions with others in their environments, not from their constitutions as isolated objects.”



PHOTO by Robert G. Kernodle

All That I Am

November 15th, 2011

All That I Am

COSMIC HEADPIECE Ascension Of Reason original painting by Robert G. Kernodle, inspired by a Burne Hogarth human anatomy drawing, MATERIALS-art acrylics on gallery-wrap stretched canvas, DIMENSIONS-36" x 60", YEAR-circa 2000.

Origins


I cannot know for certain what came before me. What I do know, however, is that my existence is sufficient justification to value my thoughts, because why would material substance ascend to conceptual awareness, if conceptual awareness had no benefit for the material substance from which it originated?

What I think, then, is that all life, ... all things, in fact, arise from the depths of a cosmic ocean -- an ocean so deep that no consciousness can encompass it. No mind can grasp it. Consequently, the human mind must get a fix upon itself by comparing its limited boundaries of conception to its greater expanses of perception.

Perception And Conception


Sensory perception exceeds mental conception, while containing it as well. In other words, perception transcends and includes conception, even though many people believe that this relationship is the other way around. Perception, in its boundless freedom, defines the mind, as a sea defines an island or as a pond defines a fallen leaf. Such watery masses act as malleable backgrounds against which the seemingly bounded shapes of islands and leaves gain figurative meanings.

I am, then, a sort of island or a leaf in the greater sea of eternity. I arose from the primal anatomy of all life, which came from the Earth's fluid oceans, which came from the Universe's sub-quantum, super-fluid sea. Nobody can know for certain whether such successive, recursive encasements ever end or even begin. Since I trust my mind's reflections, I trust my sense of harmony in the idea that such successive, recursive encasements never end and never ultimately begin.

Infinity And Eternity


I suggest, therefore, that we humans are best to think of infinity and eternity in these literal fluid terms, so that we might find shared harmony in shared ideas about how our individual physical forms float for a while and eventually re-dissolve into reality's whole.

Earth’s watery oceans were born of cosmic water-like plasma, and these oceans eventually echoed fluid’s most minute structure-building characteristics (by way of dynamic fluid turbulence), producing a symphony of cellular compartmentalization, membrane interfacing, organic agglomeration, and systemic accumulation. This symphony of life continued until a curious form emerged that walked upright on bony stilts inside a strangely symmetrical watery, fleshy sack.

All that I am, therefore, is this watery sack on bony stilts, strolling about a blue globe, hurtling about its colossal fluid cousin Sun, in turn hurtling about its even more distant relative fluid galactic center. All that I am in this universe is less than an insect, … even less than the least amount I can imagine. I am nothing. Yet I perceive that I am.

Purpose And Meaning


I exist, and this accounts for something. It accounts for a meaning in an otherwise meaningless, eternal plastic flow. The meaning of my being is motion, … peak patterning, … and then dissipating, decaying, and dying, which fabricates the raw materials for new living . The meaning of life is established in death, and the meaning of death is established in life. Again the island/ocean, leaf/pond analogies apply. We know the most, when we accept that we die.

All that I am is death recycled, … breath re-filtered, … atoms rearranged, and old thoughts newly refined. What’s the point? There is no point. Points are dots, and nothing in life-death-life is so confined. Dots (thus points) are pointless ways to conceive of purpose and meaning. Instead, purpose and meaning flow from movement of substance that never ceases. All that I am ultimately is substance-motion unceasing. I am a peak realization whose total body exceeds its watery, fleshy bounds, just as a ripple from a raindrop exceeds the raindrop’s primary mass.

My existence has ripples in a much grander puddle. I ripple through all other beings, and all other beings ripple through me. All that I am is the universe, where my being here-and-now is just a raindrop.

From Chaos To Construction

November 12th, 2011

From Chaos To Construction

FLUIDISM Original Painting by Robert G. Kernodle
TITLE: Aura
DIMENSIONS: 7 1/8 x 7 1/8 inches
MATERIALS: Art acrylics on foam core, unmounted, unframed



Seven years ago, I made this painting hastily, with NO planning or forethought.  I now store it, covered with tracing paper, between the protective pages of an old wall calendar, in a plastic bag, in one of my desk drawers.  Not long ago, I photographed it for the first time.

This painting came into existence, because I could not bring myself to throw away very small amounts of fluid acrylics, left over from other projects.  I dumped these leftover acrylics onto a small piece of foam core that I previously colored with shades of dark green.   I performed a few manipulations of the foam core to move the liquids around, and I arrived at what you see pictured.  I did not believe that the resulting fluid patterns could survive drying, but these patterns did survive.

Forever Is Now



I call this painting Aura, because I believe it has the aura of eternity. Eternity is infinitely and forever fluid.  In each puddle of fluid that we observe now, we see the essence of forever.  Forever is catastrophically beautiful, with unplanned events, or “accidents” that occupy unplanned spans of space and time that are just as important as planned events.

Arguing With Einstein



Albert Einstein supposedly said that God does not play dice with the universe.  I would argue with Einstein, contending that God does something even more unpredictable than playing dice.  God does not gamble, because God does not even reason in the way that some religions preach.  I could argue that God exceeds both reasoning and conscious intentions.

Something else exists prior to reasoning.  Logic is born from illogic.  Thought is born from non-thought.  Human beings think, while the Supreme Being of the universe just acts.  The universe does not need to think, because it simply acts as it always has and always will. 

Eternal dynamic fluid actions rule reality.  Jackson Pollock sensed this, and other people, from past centuries to present times, have sensed this.  The most enlightened artists, scientists, philosophers and religious thinkers all probably sense this in some deep, unexplainable way.


Art Prints



Fundamental Fluid Nature Of All Physical Reality

November 11th, 2011

Fundamental Fluid Nature Of All Physical Reality

We do not always realize that complex ideas rely on simple concepts. A good example is the atomic theory, where the idea of atoms originally depended on the simple concept of a particle.

In order for something to be a particle, it has to have an encompassing boundary to create a lasting identity. In order for the encompassing boundary to create a lasting identity, the boundary has to be solid. Popular representations, in fact, once pictured atoms as groups of tiny hard balls revolving around central groups of more tiny hard balls.

Eventhough this early model has grown more complex, the underlying concept of an atom’s inflexible parts persists. Some fringe thinkers believe that this so-called “solid bias” is the eyesore of modern science. Gerald I. Lebau and his most loyal advocate, Joel D. Morrison make convincing, although complicated, alternative arguments against the idea of solidity in science. My leaning, however, is not primarily scientific

Even so, I identify with Lebau's and Morrison's belief that the universe has no ultimate solid foundation. I, like Morrison, also believe that the universe has no ultimate fluid foundation either, because constant, liquid change cannot fixate into an ultimate base. The very concept of a fluid implies that the base of reality is always falling out and reforming. The only eternal aspect of existence is this always-flexible dynamic.

My art, therefore, supports a scientific world-view that favors the continuous transformation of fluid patterns. The images I produce are more than pretty pictures. They are visual expressions of how reality really works. From the smallest sub-atomic structures to the grandest cosmic conglomerations, ... infinite existence deforms and flows eternally.

A large rock appears rigid in the span of human life, but in the span of geophysical evolution, this large rock is a speck of liquid in Earth’s plastic deformation over eons. Planets, stars, galaxies and mega-galaxies, likewise, form, deform and flow. No form is permanent. Nothing lasts.

All patterns of the universe are ephemeral. All objects, identities, and boundaries are relative and momentary on scales of time above them, as they are static and permanent on scales of time below them. Resonances, harmonies and symphonies occur at all scales, but all scales together move. Purpose and meaning exist at given scales in given times relative to these scales, but the grandest, persistent purpose is change.

 

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