Thursday, 28 March 2013

Caught My Eye: India Dewar






'Primordial Soup' 
Oil on Panel 

I discovered India Dewar's work in the group show 'Transmission: Surface Revive' at the 'Rook & Raven' Gallery just off Soho, I previously blogged about Alexander Stavrou who was also part of the show. India's work took up the entire downstairs space and the atmospheric lighting really made the work come alive! 

India draws inspiration from Scientific knowledge and theories, exploring astrophysics and cosmology, and occasionally bringing in geometry, philosophy and metaphysics. She is intrigued by the few first seconds of the universes existence, the time immediately after the Big Bang.

Aesthetically I was instantly drawn towards the vivid sapphire blue swirls of painting, and the patterns the mixing painting made, but upon looking closer it became quite apparent that there was more lurking beneath the surface. The paintings give the impression of a giant planet, yet also feature close-ups of mountain terrains, and evoke images of cells under a microscope, so many thoughts raced through my brain as I tried to process the imagery! After coming home and research India a little more, I'm even more drawn to her work and its methodology!

I'll let the blurb from her website do the talking:

"‘We live in a society exquisitely dependent on science and technology, in which hardly anyone knows anything about science and technology… This is a prescription for disaster. We might get away with it for a while, but sooner or later this combustible mixture of ignorance and power is going to blow up in our faces’ Carl Sagan.

By revealing the aesthetic or poetic dimensions of science and the underlying geometries of the material world, it is apparent that pattern is pervasive in our universe and that an appreciation of natural phenomena on the cosmic plane often calls for inner rearrangements on the psychological plane.

Physics is an ever self-challenging evidence-based prism through which we can make sense of the world. These discoveries are often encrypted into equations and scientific papers, enjoyed only by the scientists and astrophysicists, whilst we revert to scientific metaphors and concepts to construct our own ontological experience.

Dramatic revelations in scientific discovery however, have the power to drastically reconfigure our own relative sense of ourselves flickering between moments of perceived totality and moments where cracks appear to rupture that constructed sense of the world.

Pattern holds the same seduction as equations, in that one can simplify and simplify and discover that beneath the complexity of the world is something very simple.

We look for pattern and meaning everywhere; we’re even trying to find it where there isn’t any. Mythology, routine and repetition of practical and religious ritual provide a shape to chaotic life helping us to place our actions in a broader cosmological drama.

These are ways in which the human mind protects and comforts itself, in the face of infinity, which evicts the human mind from its secure residence in the house of reason. We therefore seek to distract ourselves, to desperately do anything other than think phenomeno’logically and be thrown into a boundless frightening situation and see our fixities begin to fragment."

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