EXPLORATION | IMPERFECT CIRCLES

“Amidst the chaos the circle finds peace and focus”

We are proud to present: 0270501ʼs Explorations of Imperfect Circles, the artist’s first exhibition with the gallery, Art Cube. the exhibition focuses on the artist’s experimental practices from 2020-2022 including performance, sculpture, and painting. The artist is known not only for his immense, black monochrome works but also for explorations of concepts and material that blur the boundaries of Contemporary Art. The current exploration of work explores how the artists innovatively test the boundaries of the varied mediums in non-object representations whilst adhering to a figure of control through the abstraction of imperfect circles - concurrent to perspectives on time, space, and being, imperfect circles describe its understanding and perceptions of reality.

The circle as a figure of the form

“What I do is some explorations on art, that can provide moments when people can experience something outside of normal life, a kind of spiritual entrance to a new perspective on the world."

The artist creates imperfect circular eclipses - the human imagination has long been fascinated by the circle as a basic shape. Many mathematicians and philosophers thought it was the most perfect of all geometric shapes, while theologians thought it was divine or supernatural. The mysterious circle was mixed with the mysterious with the beauty, resulting in a wide range of meanings in many semiotic traditions. The circle symbolizes many things - The Sun. Cycles. Eclipse. The moon. Infinite space and a gentle explanation of life itself. The work then incorporates the materials adamant in the era, instead of using tools to make perfect circles, the artist focuses on creating imperfections, finding the definition of it still being considered as a circle. Letting the material dictate the movement of the work in conjunction with the artist’s subconscious and preconceived meditations on the visual ideas. The action of painting for the artist is important, in these works, circles are formed from different processes

Is it possible to have a perfect circle? Of course, in terms of mathematics. A circle is defined as a collection of points that are all equidistant from a given center point, and a simple calculation can tell us if a form fits this description. But things get a little murkier in the real world. Outside of mathematical abstraction, it's difficult to say whether a perfect circle or a sphere, a circle's three-dimensional counterpart, exists. A characterization and acceptance of an imperfect circle, on the other hand, is an object of beauty–disintegrated, degraded, distorted, and opened to the influence of the outside world in some way–idealism of perfect geometry tempered by the specificity of the material world or the demands of usage and inhabitation. And perhaps the circle's geometry's simplicity is most appropriate when used to register precisely these forces of the world which refuse to conform to such simplicity or symmetry.

The artist creates imperfect circular eclipses. This is because the circle, more than any other form, defies visual distraction and acts as a focal field to which the viewer's attention is constantly drawn. This is best understood by contrasting the psychological effects of a square and a circle on the mind. When we encounter a square, we are immediately drawn to it since it has four sides and four corners that are distinct from the rest. A circle, on the other hand, is known for its singularity. All of the points on the circle are identical. The circular, unlike the square, do not allow your imagination to be divided into various directions.

Eclipses in astrology are known to be an important precursor to change. They bring rapid changes, shocking revelations, sudden ends, and quick new beginnings to people's lives. The eclipse also acts as an important cosmic intervention, helping us to connect with our spiritual destiny along our true path. The changes that occur during the eclipse are considered fateful by all astrologers-whatever happens anyway, the power of the eclipse allows things to unfold faster.

The circle in time
With the new normal, it is important to approach a mentality on the humility in nature and material as it surrounds us. The loss of time during the pandemic faces some artists the anxiety they feel every time they enter their studio to start a new work. Is this the day they run out of ideas? How do they even begin? The artist finds peace not from the success of achieving the impossible goal of perfection, but from the thrill of trying again. The circle was a composition strategy that would allow him as many new beginnings as possible and embracing its imperfections explored this seemingly absurd paradigm, experimenting with aesthetic variations as well as methods and media. Some of the circles are sloppy to allow the paint to drip. Others are pure white. Some have multiple inward spirals or transformations; others are as unstable. Each circle led him on a journey of new discoveries, each discovering a new way of failure

“My expressions have nothing to do with reality. Rather than depicting reality, reaching the highest level of abstraction allows access to complex conceptions of space and time.”

The Circles in imperfect experimentations
The works are portraits of the viewer's mind.
The artist has discovered an emotive power within the essential crudeness of the materials used to execute the works. Using industrial materials to highlight the imperfections, creating edges and gradients within the pieces. Like the influences of Willem de Kooning, Mark Rothko the artist combines the energy of the work with hues of native heritage and Mother Earth, powerful and overwhelming - focusing on material exploration, the creative gesture, and the spiritual connection between the artist and the work, to transcend conceptual barriers. The artist leaves many of his paintings untitled, to remove any predisposition or connection beyond the work’s immediate existence. The work itself becomes a memory and a relic symbolic of the artist’s conversation with the raw material that brought the painting into creation and the viewer's personal relationship on first impression as visual communication.

The goal is to achieve a state of mind in which you can tackle all of the elements that go into creating a painting. In the end, it's all about the process. The entire painting resembles a texture rather than a message. The goal is to make the viewer feel something. In the work, I can choose the 'container' by deciding on the shape and size of the canvas, but the mystical and organic form of imperfect circles that develop is absolutely beyond the artist's control, rather - a conscious absence of control in chaos. The contour of the work is truly determined in this manner. The artist consecutively applied the heavily experimented and combined paints directly onto the canvas on top of each other. Due to the characteristics of these materials, paint smears into canvas quickly and creates blurred margins around the bars. Different rates of color absorption can be seen, as each stroke is unique. On the other, by viewing paint, found objects, and medium as a material, the circle facilitates a contradict ory state in which the traces of physicality and individuality are fascinated by the act of repetition, the infinity of variation, and the simplicity involved in inscribing the ubiquitous circle.

“One of the main characteristics of my work is before I start, I do a lot of thinking, a lot of stopping, when my ideas have matured, I begin to make”

The circle on performance

Black on stone on paper. sculptural intervention and performance
On the day of the exhibition’s opening, the artist will perform Untitled | Performance | Circles on Encounter, on-site. A natural stone will be painted in black for 12 seconds (12-hour clock), stimulating a reflection on the relationship between objects and space, surfaces, and awareness. Movements of concavities and convexities are explored, which investigate different confines of painting as an artistic medium. Occupying the center of the gallery space. The work offers a persuasive influence of objective view-making, while creatively re-inventing the environment.

Leasing our eyes and ears and nerves to commercial interests is like handing over the common speech to a private corporation, or like giving the earth’s atmosphere to a company as a monopoly” From Understanding Media: The Extensions of Man by Marshall McLuhan ©1964

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The pieces explore experimentations in materials and processes applied to a continued fascination with natural systems, phenomena, and the ephemeral. The artist attempts to capture materials that are often profoundly unnatural and industrial.
Abstract and irregular, the works of are of the earth and material, conscious of the repetitive action in the making, of not knowing on what to try and to achieve, teaching muscles to move in a certain way, breathing and not breathing, but working and responding to the reality of what is happening rather than depicting it. This is how the pieces emerge into being. Controlling the speed, time, and distance of engagement with a piece in creating something different from a previous piece. Combining these repetitive forms in a circular form dictates elements under conditions that force them to react with one another, to generate often unexpected and uncontrived results; a practice that is always on the very edge in acceptance of imperfection.