BRING IT BACK

BRING IT BACK
benjamin harubin 2015
acrylic on towel on wood
11" x 10"

i was dreaming when i painted this; 
the memory of the context has gone astray, 
so i cry out.  

THE GREEN SPACES

GREEN SPACE #1: Transmission of an Unknown Mutagenic Parasite
(A GREEN WOO PALACE OF EARLY LATE)

Green Space #1:  Transmission of an Unknown Mutagenic Parasite
benjamin harubin 2014
16" x 14" x 6"
wood, found objects, acrylic and enamel paint

Green Space #1
rear view

Green Space #1
oblique

Palaces of Woo

Places of Mystery embedded in the Ordinary Environment

Secret Spaces that Children Find 


what is woo?
...but the currently misunderstood?

the rigid structures, the rational products of the mind are subject to decay, mutation, hybridization, accretion and incorporation into networks.  

so buildings become transformed: usage changes; they are salvaged, abandoned, graffitied and overgrown with the unintentional.  

the technological/rational mind's products are subject to the invasion of woo.  

technology has unintended consequences, and science succumbs to memes and myths that far outlive their usefulness.

political structures become cumbersome and sometimes shift convulsively. 

shadows on the wall and voices in the air conditioner in a darkened bedroom speak to an "unbalanced" mind of alternate life paths in the late late.  

shadows on the wall: 
the theoretical shadows on the walls of evidence,
cast by the fire that cannot be seen,
the fire behind the eye,
the woo in the woodwork,
the snake that never can quite consume itself,
that yet beckons us to keep putting one foot in front of the other.

GREEN SPACE #2: Exoplanetary
DESKTOP ARCHITECTURE
shadows on the wall:
the theoretical shadows on the walls of evidence,
cast by the fire that cannot be seen,
the fire behind the eye,
the woo in the woodwork,
the snake that never can quite consume itself,
that yet beckons us to keep putting one foot in front of the other.

Green Space #2: Exoplanetary
benjamin harubin 2014
15" x 8.5" x 3"
wood, found objects, acrylic and enamel paint

Green Space #2
(rear)

Green Space #2
(oblique)

EXOPLANETARY:

the truth is out there.
what do the experts say?

"We're looking for life markers in the chemical imbalances of small planets around other stars—that's very difficult. It worries me, and I pace up and down a lot and bite my nails!" 

why are the extraterrestrials sinful? Is sin built into the very fabric of the space and time of the universe? Or can life exist in parts of the universe without being in a state of sin and therefore without the need of redemption and thus without the need for Christianity?

the dreaming mind (which includes the scientific, the emotional, the creative and the speaking mind) is seeking the answer to existence out there in the patterns of the universe.  
-out there in space; down there in the cells.

if the origin of life were indeed exoplanetary, viral comet dust and space-faring tardigrade seeds traveling the galactic voids (panspermia), how could we determine the origin?

if i was a galactic super intelligence, i'd use a highly compressed, environmentally responsive, unfolding set of algorithms, to contact my client species.  
sort of like this panspermia idea.  

so, dr. drake, dr. fermi, where are they?

maybe we're inside of it, and it's inside of us.

(where we're going we don't need roads...
...or enormous radio dishes).

we're transmitting on Exoplanetary Radio!

if those exoplanetary beings were speaking to us already through our current frame, 
how would we even recognize them?  

perhaps we should look in the stains on the wall and the faces in the clouds and the thoughts in our heads, 
or maybe get a job, and look through a telescope.



MANY MORE GREEN SPACES CONTINUED BELOW:

the Nanocrobes

Assemblage:  (Wikipedia) The origin of the artform dates to the cubist constructions of Pablo Picasso c. 1912-1914.  The origin of the word (in its artistic sense) can be traced back to the early 1950s, when Jean Dubuffet created a series of collages of butterfly wings, which he titled assemblages d'empreintes. However, both Marcel Duchamp, Pablo Picasso and others had been working with found objects for many years prior to Dubuffet. Russian artist Vladimir Tatlin created his "counter-reliefs" in the mid 1910s.


Nanocrobe: a series of small playful assemblages, begun in 1964, continuing into the present.  an analog of dreaming; daydreaming; pattern recognition; mistakes of navigational wetware; the spontaneous generation of active imps; miner assistants in the infowars, digging in the soiled imaginatorium.


photos by Joe Paban

"Snap your Finger"
benjamin harubin 2015
4" x 15" x 3"
assemblage
(objects found in Snapfinger Creek)

The LAST Nut

the painting is merely an illustration of the words.

the words are just a gloss on the image.

can't you just shut up?

Dear Bongo, no.

The LAST Nut
benjamin harubin 2015
acrylic, latex paint, found objects, pencil on wood
23" x 12" x 2"

full text:

The LAST Nut
my model UNIverse is nearly COMplete.  everything that there is is in it.  you, YOU, you, you and you.  IT's got EXpansion modules and lenses and SHIT.
at night routines stitch and DELete.  stitch and delete.  REPEAT.  Eddy gains momentum for A time.  but the interface IS leaking.  i CANnot be sure.  CAN'T NOT. 

making the invisible visible- EG- as predator seeks to penetrate camouflage- necessitates that PATTERN RECOGNITIONS be amped up. AT Some point in the cycle, a Plethora of Possibilities is a PLUS. ARE MATHEMATICAL LAWS PULLED LITERALLY OUT OF THE ASS OF THE UNIVERSE? A BRAGILLION FUNGI AGREE. The Agent Was Disguised AS Art School Trash- not!

making the invisible visible- EG- as predator seeks to penetrate camouflage- necessitates that PATTERN RECOGNITIONS be amped up.  AT Some point in the cycle, a Plethora of Possibilities is a PLUS.  ARE MATHEMATICAL LAWS PULLED LITERALLY OUT OF THE ASS OF THE UNIVERSE?  A BRAGILLION FUNGI AGREE.  The Agent Was Disguised AS Art School Trash-  not!

benjamin harubin 2015

water acrylic and china marker on canvas

3' x 4'

the name of this post is the name of this painting.   it's a painting of the name of itself.  the subject of this painting is identical with the title of this painting.  it's a painting of the words of the title of this painting.  it contains its own exegesis. feel free to rotate (if your mind is prehensile).  







my beret is tipped to Blake.