Alina Shmukler

Tel Aviv (ISR)

2015 / Acrylic markers / 21 x 29,7 cm

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“Throughout its entire life, philosophy has dealt with the subject of visibility. Apparently, visibility is straightforward: a viewer looks and sees (if that person is not blind) what is in front of him/her. This dialectic between seer, that which is seen and the senses can be ascribed to other senses actively engaging in perceiving reality: sound and hearing, smell and smelling, etc. However, deciphering reality is probably the most complicated task that exists.

The person perceiving should first attempt to find out how occurs the very act of bridging between that person and the world. This act is influenced by various components like physical ability, or energies of the emotional or mental capacities. This kernel of the body, the emotional system, the mental one, and the energy derived from all three, ties in to the archeological array of the consciousness.

Consciousness depends on an aggregate of permeable and permeated causes. These are founded upon the conditions of the geopolitical, set of beliefs  and laws, gender, folklore and ethnicity, the socio-political, social and personal status within and outside the family, and finally, abilities and disabilities of the subject as a singular and unique creature. This intricate array acts as a sort of shadow cast by the collective and personal memory upon the clear perception of the senses. This array is linked to the attachment and preservation principals which channel vision and ultimately overcast that which is perceived. In order to perceive reality in an unmediated fashion, such that is not clouded by the above mentioned principals, one must seriously reflect inwardly upon oneself so as to free consciousness from fixed patterns which supposedly govern the act of perceiving reality.

 The act of reflection is meant to free perception from any automatism brought on by the principals. Along with this one, another vital act is exercises in revealing and discovering. The perceiver must exercise, on a daily basis, new perspectives so as to enrich that which is perceived. All the while, discoveries of the Unknown will challenge new mental, emotional, and energetic contexts which will serve to enhance the act of revealing. There is to be nothing new without the act of renewing; there is to be no discovery without the act of revealing. To live out the task of revealing and discovering means foregoing the attachment and preservation principals and instead developing the aptitude for experiencing, adventure, and becoming.

 Shmukler’s works may serve as an example to the ongoing effort to decipher that which is perceived. The artist sketches, drafts, paints, and sculpts the haphazard, the imaginary, and the anticipated. These are formed into a musical composition of medium, color, formal composition, rhythm and format. Characters, portraits, buildings – all are awarded an ever-changing context owing to precise thinking and feeling.

Black and white, gold, thickening, thinning, chalk, pencil, oil, condensed or regular paper, plywood, canvas – all serve as means and an end to set that which is dynamic. A dynamic which acts, in this case, as the will to perceive the outer coat, as well as the psychological or essential incentives which drive this coat. Consciously or not, the artist pursues a synthesis between herself as a perceiving subject and her object of sight, intermittently and refreshingly passing before her eyes”. – Dr. Dorit Kedar


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