So I have been contemplating phrases/words that are used but yet have no real understanding to them, at least to me who has clearly over-thought herself out of understanding or over-thought herself into realizing she never really understood to begin with.
I began with concepts of time, which is taken as a constant but Einstein proved to be a relative. As Deep Blue Sea famously pointed out (Thanks, LL Cool J and the writers of that gem of a film) “Put your hands on a hot stove, a minute seems like an hour. Put your hands on a hot woman, an hour seems like a minute.” Our perceptions influence their definitions; that is, how long is “is” (present tense) really? Is yesterday “was”, or is one second ago? When does “is” change to “was”? And when does “will be” change to “is”? If hindsight really is 20/20, do we really ever understand our present fully? And how much hindsight do we need? Does hindsight really provide understanding, or do we simply re-interpret the data like we re-interpret events in our memory?
Anyways, I have been working on constructing these words in ways that re-construct/destroy/blur their natural forms as a way of discussing their relative definitions and their lack of understanding/comprehensibility. So I began by creating 3×3″ boxes and choosing a no-bullshit standardized font (Helvetica); I chose a sans-serif for readability (hilarious, considering) and a commonly recognized (even though it may go unnamed) font so the focus wasn’t on unusual form/aesthetic but rather on the form made from the overlay. I centered each letter within the three inch square and layered them (I showed my work, so to speak, with the transparent ones, in which I divided the total opacity (100%) by the number of letters (2, 3, and 6 respectively) to receive each layer’s opacity (50%, 33.3%, and 16.6% respectively) so the layering remained consistent) and they created some interesting forms that remain semi-legible but stand on their own.
The formal obliteration of the subject matter was lead to by my earlier work of highlighting the construction of individual letters/symbols and phrases (see below) in which the actual physical production/marking process was highlighted to discuss the conceptual construction taking place when utilizing language and it’s features combined with the photocopy face scans I made in college (I tried photocopying my face to create layers… but failed after about four scan-throughs to be able to differentiate) which lead to my semantic satiation project of I’m Sorry’s ran through in layers to discuss the seemingly personal condolences you give in circumstances that become mass produced through shared experiences and the greeting card industry.
Whatever, I’m thinking too much but at least it’s followed with some sort of action response other than filling pages of a sketchbook with theoretical writings.