Inside Out

Non-objective art draws its contents essentially from “inside.” This “inside” cannot correspond to consciousness, since consciousness contains images of objects as they are generally seen, and whose appearance must therefore necessarily conform to general expectations. Picasso’s object, however, appears different from what is generally expected –so different that it no longer seems to refer to any object of outer experience at all. Taken chronologically, his works show a growing tendency to withdraw from the empirical objects, and an increase in those elements which do not correspond to any outer experience but come from an “inside” situated behind consciousness – or at least behind that consciousness which, like a universal organ of perception set over and above the five senses, is orientated towards the outer world. Behind consciousness there lies not the absolute void but the unconscious psyche, which affects consciousness from behind and from inside, just as much as the outer world affects it from in front and from outside. Hence those pictorial elements which do not correspond to any “outside” must originate from “inside.” - Carl Jung, Collected Works of C.G. Jung, Volume 15: Spirit in Man, Art, And Literature: Spirit in Man, Art, and Literature v. 15

Clearly Mr. Jung was not one of the 2-10% (depending on what article/study you come across) of the population who closed their eyes and thought about an apple and saw…darkness. Not to mention he also lacked access to 21st century neuro-imaging, biopsychology, biochemistry, etc. So I’ll cut him a bit of a break since despite all these weaknesses he is still the author of some of my favorite concepts.

That being said, he clearly was stuck in a narrow perception of reality and consciousness. I see nothing when I close my eyes, yet I am reasonably confident I am fully conscious, (mostly) rational, and (mostly) mentally and emotionally functional. What it does mean is that I process concepts differently and likely also approach problem-solving and cognition differently than the average person with average mental visioning capabilities.

My art has been impacted in a number of ways by this difference. First, I’m not good at replicating realistic images without a reference image – either live model or photograph. Second, I find it very difficult to plan my compositions before I begin initial sketches. Third, and perhaps most importantly, I find it extraordinarily freeing to identify a concept or an emotion and then seek out reference photos that in some way capture that abstract concept.

It is from this third impact – the act of moving inside outside – that my collection of bug paintings has evolved. And I cannot wait to see what direction my blind mind takes me next.