Geometry Beach Lesson 5
'geometry beach lesson five'
1990s oil on canvas
I love this painting in which Kevin Sinnot proves himself not only as a master painter but as a shaman.
from the colour symbolism to the perspective of the golden~compass, invoking the effects of a moment as its tides ripple both directions in time.
from the at times overtly abstract, indulgent expression of raw paint marks; to the crafted passion for representational image.
from suggestive multi~level spectrum knowledges, timeless awareness of dream~time, aboriginal & primal instincts toward a high & misplaced revelatory system; to the general ambience that lackadaisical & hedonistic days on the beach, a gateway place between diverse worlds, invoke.
I type these words a flock of seagulls circles above my apartment,
squawking their sardonic ocean~call. I taste the sea in my being as
inquisitively I poke my head through the window, watched making shapes
in the sky.
recently I spoke with my friend who is the spitting image of the girl in the blue dress. she had never heard of Kevin Sinnot but agrees that it is a painting of her.
this story goes deep into the grain, as moments of alignment when considered in the proper perspective can offer us insight that defies conventional physics and causal~&~effect relationships.
is such a painting an act of magick, the flat screen of canvas becoming
a portal, a still~frame of an imagined moment, frozen in time; that
unique instance becomes the real as it folds around through into the
world of experience.
every mark upon the canvas holds firm as a hook to sway & hold our path. here the domain of the creative, the sorcerer, who see into other worlds and how the threads, described in symbol, link up.
to enter this world, to find pure perspective, that precision~edge between the sea & sand that grows us through into a solid frame of reference.
it is a great responsibility to tread beyond liminal & into mythic retrieval, for we catch others up in our wake. doing so is taking, responsibility for events & lives of others, of things that yet may be; beyond our reason.
simpler just to breathe and watch the world and hear the soothing sound of waters...
typically in symbolism an arrow pointing down is toward the physical, toward the earth, and refers to manifestation. she is taking from that which is behind her and spinning through the available concept~constructs, to define the Now.
Here, the arrow is pointing both toward the centre of gravity that binds idea's into form, cursive in ratio of classical proportion, & also outwards;
toward the student, the observer, the watcher caught up in
the wake of a moments hidden construct, interacting
with the act and meaning of this
Beach Lesson 2
Beach Lesson 3
screenshots ©PiratesoftheCarribean (part2)
used legally within Fair Use Policy
for educational purposes
Geometry Lesson 4
I found this book while searching through my father's library...
The Illustrator Hamzeh Carr is the same guy who did the art in the copy of Omar Khayam's book that we had (myself with the girl in the blue dress), with the two translations he made of the same poem; the Rubaiyat. Although I have not yet read the Light of Asia the story in this series of prints seems at first glance to be that of the life either of Siddharta or of Krsna.
Iconographic images being symbolic for the stories self~contained within each scene, naturally I interpreted these in context of the story we are telling here, drawing from memories of my own past.
"Instead of recalling something related to the 'True Reality' (the reality of the spiritual world), for the Muslim calligraphy is a visible expression of the highest art of all; the art of the spoken word (the transmittal of thoughts and of history). In Islam, the most important document to be transmitted orally is, of course, the Qur'an. Proverbs and complete passages from the Qur'an can be seen today in Arabesque art. The coming together of these three forms creates the Arabesque, and this is a reflection of unity arising from diversity (a basic tenet of Islam)."