Alain Jérama
"LEGLEYE JERAMA" sculpture 2012

Adaptive work.
Set of 13 letters fiberglass and resin paint (190 cms high and 30 cms wide each)
Total: Length 460 cms width 340 cms, height 355 cms.

Through this work, I do not invent anything.
I just reinterpret reality to produce a new one.
As in all my work, that I run, it is the potentiality of all becoming.
What interests me is the limit of reason, a commitment that determines an arbitrary reflexive work that attempts to open a future where our choices are responsible to pay whatever the consequences.
But nothing is written in advance and codes can be decoded as if recode.

Blake and line

Blake's Exhibition and Catalogue of 1809 (E 550):

" The great and golden rule of art, as well as of life , is this: That the more distinct, sharp, and wirey the bounding line, the more perfect the work of art; and the less keen and sharp, the greater is the evidence of weak imitation, plagiarism, and bungling. Great inventors, in all ages, knew this: Protogenes and Apelles knew each other by this line. Rafael and Michael Angelo, and Albert Durer, are known by this and this alone. The want of this determinate and bounding form evidences the want of idea in the artist's mind, and the pretence of the plagiary in all its branches. How do we distinguish the oak from the beech, the horse from the ox, but by the bounding outline? How do we distinguish one face or countenance from another, but by the bounding line and its infinite inflexions and movements? What is it that builds a house and plants a garden, but the definite and determinate? What is it that distinguishes honesty from knavery, but the hard and wirey line of rectitude and certainty [P 65] in the actions and intentions. Leave out this line and you leave out life itself; all is chaos again, and the line of the almighty mus t be drawn out upon it before man or beast can exist.


AH experiments... painting sculptures

In this experiement, I started by drawing quick lines to represent one of the metal "Abstract Head: Disciple" sculptures. I then used goache for the colour planes, but something was missing. Eventually I realised that I needed to frame (tame) the disorganised forms using a 40cm square. Originally this was a wide charcoal line, but later I preferred the thin ink line. The triptych idea comes through in some of the paintings with the repeated square.

More examples can be seen here:


Olafur Eliasson: Your Light House

p14 Richard Dawkins "Bar codes in the sky."

"White light is a scrambled mixture of wavelengths, a visual cacophany. White objects reflect light of all wavelengths but, unlike mirrors, they scatter it into incoherence as they do so. This is why you see light, but not your face, reflected from a white wall."

Olafur Eliasson: Your Light House
Olafur Eliasson: Your Light House: Working With Light, 1991-2004
Olafur Eliasson, Burkhard Breiing
Publisher: Hatje Cantz Publishers
ISBN: 3775714413 Edition: Hardcover; 2004-09-15

Wabi-sabi for artists, designers, poets & philosophers - Leonard Koren - Google Books

Wabi-sabi for artists, designers, poets & philosophers - Leonard Koren - Google Books:

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Wabi-sabi - Wikipedia, the free encyclopedia

Wabi-sabi - Wikipedia, the free encyclopedia: ""Wabi-sabi is the most conspicuous and characteristic feature of traditional Japanese beauty and it occupies roughly the same position in the Japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West."[1] "if an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi."[2] "[Wabi-sabi] nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect."[3]"

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