Art - Translating the Unseen to the Seen

By Suzanne Dauber, USA

Suzanne is an artist, graphics designer and practitioner of special ecology design who holds a Bachelor of Fine Arts degree, is resident in Florida and a member of the North American Template. She did the graphic arts for the book “A Feminenza Trace of Essences and Elements” and has provided a lot of artistic contribution within the Template Network ranging from simple diagrams to elaborate posters. Her interest in the natural energies that influence the quality of life has prompted her into a professional practice in the realm of electromagnetic detection and the art of positioning and arrangement to enhance the well being of her clients.

When considering Art in the past, the present or the future, it’s essential to try and discover more about what Art actually is. This is important because, regardless of the trace of what is produced and classed as ‘art’ in any century, there must be a fundamental foundation from which it all appears.

So an approach has to be found that can reach beyond the immediate references typically associated with this subject. The mention of the word ‘art’ can conjure the mental imagery of a museum full of famous paintings and grand sculpture, or perhaps the memory of an art class taken, or a beautifully illustrated book of art history. All of which are related to ‘art’, but only surround whatever ‘art’ is; these references don’t really define what Art actually is.

So what is Art? Webster’s 7th Collegiate Dictionary has five clauses. Let us take 2.c. “systematic application of knowledge or skill in effecting a desired result.” Well, this speaks about a process that is aimed at achieving a result, but is that in the object created? In the artist? In the viewer? Or all of these? And what is this process?

To discover more about the truth of Art, it’s important to find opening language that can allow new elements and impressions in our thinking. Such as considering art in terms of ‘a stylized expressionism’, ‘a process of responding and transponding’, ‘a bridge-maker between dimensions’. Clearly whatever Art is, it touches the realms of inspiration and perception unique to being human midst the marvel of living on earth.

Whether it springs from a response to Nature’s variety and beauty, or the inner search and exploration of the unknown, art seems to be a way of translating experience, capturing revelation and reflecting on life itself.

“What is art? There is a lot of surrounding description, but all that doesn’t say what it actually is. It does, however, involve one word: participation.” Leo Armin

Art is like a rose that flowers from the rose bush’s participation in its life cycle. Human art blooms from the level and quality of any individual or group’s participation in the process and discovery of Life and is the resultant of what moves them.

Birds will sing in the early morning and at dusk when the energies of day and night overlap in a powerful transition that precipitates a special vibrancy and frequency of energy that fills them up to over-spilling in song. It’s a natural response to what is moving them. Likewise, humans become full of different essences and take part in their expression. For example, the essence of love has caused humans to sing millions of songs, paint thousands of pictures and one man to have the Taj Mahal built. All have participated in the vast spectrum that Love is, but the expression’s translation can vary from the superficial to the abiding permanency of one of the world’s wonders.

This process often happens unconsciously or semiconsciously as people respond to various influences. It might be from their engagement with the natural emanation of the land which produces folk art specific to a certain region or tribe. A skilled and trained artist might consciously set out to paint the landscape and find that painting it while present outdoors produces a very different response and result, than when attempted in the studio from a photograph. Or someone becomes captivated by the mystery and haunting beauty of the human form and is caused to sculpt it larger than life size in stone. Even the artist may not be able to articulate exactly why they did it that way; perhaps it just felt like the right way of doing it in a grand manner. But the unseen element and causation might be because what they’ve joined essencely, moves them to depict the human form’s eternal magnificent repetition through the ages, which is monumental in scale.

“Real art is when something plays its symphony through the potential of the human faculty.” Leo Armin

There are many Arts and different qualities of art. It’s a vast consideration in the visual arts alone, from the result of participation in the common markets of today to the above average results of those moved by something that has endured through history. Most all of the visual art we are familiar with involves representation and reproduction drawn from what we can see around us in the past or the present. Imagery ranges from current cultural objects to timeless natural subjects. It also varies greatly in the type of comprehension possible in the artist and viewer accordingly. For example, Andy Warhol’s Campbell’s Soup art might appeal to a 20th century collector, but be meaningless to a Chinese man. But a lovely image of a lone barren tree will capture the imagination and recognition of most anyone, because trees can be seen most anywhere in any century.

When wondering about the progression of art from the past to the future, there’s not only the obvious difference in the tools and materials with which it can be produced, but also the natural evolution of human perception and consciousness, which responds to the influence present in any age. This can be exampled by observing how the human figure has been painted from early Egypt’s flat murals, through the Renaissance’s rich dimensional grandeur to the abstraction evident in modern art. The human form hasn’t essentially changed, but its portrayal certainly has.

This is because artists are open and seeking active participation in the creative process current in their time. They are responding to the natural release of growing awareness, intelligence and the progression of collective human experience. As we consider the art of the future, it follows that the awareness will continue to expand beyond variations in representing the physical world and the abstract interplay of colour and form evident today. It may now begin to explore and attempt to translate what exists in the actual realms of energy and essence configurations.

There will be a type of what can be called ‘unique art’. This would involve conscious participation in the unseen worlds, instead of the seen worlds that are familiar. And this involves the expression and portrayal of what has not been seen yet, but does exist within the realms of human perception. The process and results of this art would reach into the more rarified aspects of human life and the energies that surround us. This is most fascinating and a prime interest to me as a focus of research and application in the Template Network.

Examples included here are the “Internal Spirit and Soul Unseen Worlds Anatomy”, pictures of a gentleman and a lady, printed as posters. There is a long trace of references to the human having a soul and spirit in literature, religion and philosophy. These are considered to be the causative and motivating elements that occupy and animate the body when alive and which depart at death. The research and exploration behind the pictures, regarding these mysterious yet fundamental components of human life, is vast and exceeds the limits of this article. But the posters are an attempt to accurately portray the anatomy and distribution pathways of the human spirit and soul in simplified graphics. It’s a step into the art of the future that tries to explore translating the unseen to the seen.

Many may be familiar with the standard medical book “Gray’s Anatomy” which graphically represents the physical anatomy and fundamental systems of male and female bodies. This book is like a blueprint to help students locate and understand what constitutes a human body as they prepare to become doctors or enter the medical field.

But this is only one level of appreciation about the human and its constitution. Clearly there are other more intangible parts and systems that contribute to a complex process of cognizance, which relates to why humans are as they are and do what they do. So these illustrations venture into the nonphysical, ‘electric’ aspects of rarified energy concentrates and interrelationships within the human system of enlivenment.

The viewer will hopefully be drawn into the wonder and wish to discover more about all this...

What is the spirit? Can I feel it in the middle of the spine? Are there references to it in history, like the ‘fleur de leys’ sewn there on French uniforms? And what about the soul and its representation in five colours? Is that pattern related to the five sections often seen in flowers and fruit, like when an apple is cut horizontally to reveal a star shaped core? See the yellow halo, which is often depicted around religiously developed people like Buddha or the Saints? And ‘spine’ anagrams to ‘spin e’, does this relate to the silver and gold helix portrayed therein? And on it goes...

Thus the viewer is invited to participate in the process that has also prompted the artist. And all can be inspired by the same originating intelligence that would have human beings seek more understanding about their design and the purposes it was fashioned for. In this process, the result is a growing and increasing consciousness about being a human and an appreciation of the discovery inherent in living.

From the past into the future, art lives and precipitates from the human’s response to the symphony of Life as it moves and compels the artist to stretch perception into new layers of reality. It can foster an ongoing journey of revelation about our existence and the hidden possibilities therein so essential to awaken as we progress. What was unseen in the 12th century is an everyday technology now. Likewise art will continue to help unlock what awaits unseen, to yield a future experience unimaginable currently.

Perhaps looking at an even bigger picture, wouldn’t God be the artist of all that’s seen and unseen, with human participants coloring its planetary canvas with the multiple levels of translation and portrayal they can join, as it all tries to evolve?

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This page is printed on 23/09/17
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