In a DARPA Lab Darkly...The Tin Man Series

In 1966, about 9 months before I entered the world, TIME magazine ran a cover story "Is God Dead?". It's still the question. By today's standards it seems naïve, given the pluralism of gods and beliefs. But in the post 9/11 consciousness God is alive, politically active, even seditious threat to our ideas of peaceful existence. How did it happen that one idea could go through so many transformations in meaning across a few decades (let along millenia)? Despite the  mountain of  scholarly, popular, historical and theological literature he/she remains as contentious and confounding to us today as in 1966.

So today the question on the covers of old magazines in the waiting room of the maternity ward in Sid Cup, Kent in the UK lives on. In me that is, as I try and figure out all the changes we're going through right now. And technology is so entwinned with those changes, when you're having a theological dillema, for me, it's about merging the technology with spirituality.

At the centre of every new sketch is The Sun. Solar activity is entering into a new 11 year cycle of hgh activity. The last big solar storm is what started this aspect of the paintings. You might remember how a large solar storm wiped out the entire electricity grid og Quebec in 1989. Art and the Sun has a long history in art and literature.

Theoria. Gnosis. Logika. Nous. Ex Nihilo...

When the solar flares, extreme in the start of a new 11 year cycle, began a month or so ago, that's when I started the new series. I had several dreams about the labs where the human genome has exported our more obsessive experiments in creating artificial life. Then, of course, we actually created artificial cells and dna, and started to link that in with AI that was now reproducing coded thoughts within 'living' computer code. And my thoughts went back to that cover that I have adopted as one of my 'gateways' (sign posts). That's when the prophetic surrealism term started.

The painting I'm working on now (or a series if you like) imagines a new Messiah. He-she starts off in the labs with a horror story future and chooses to become something else. NASA and European Space Agency's Fred and Matroushka, I imagine, carry the seeds of the future. Like Romulus and Remus. And the ancient myth underpins the story on these canvases.

Jennifer Miro is their she-wolf. And from this odd combination I have the seeds of a new immaculate conception. One that DARPA didn't plan for. And Jennifer Miro is like the sun in these paintings, a central figure, because this is a psycho-sexual  conception, in that our relationship to technology is so driven by desires that we don't admit to.  More Studio Diaries

Resurrection of the Tin Man - Part 2 (A Work in Progress).

In the end I decided that, really, this painting is still about the American experiment, and it needs about 2 more images to complete the Assassination series. It will form a second 'chapter which I call "the Resurrection of the Tin Man.

Scribes-Gopalkrishnan-copyright2011

 

 

 

 

 
 
 
 
 
 
 
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