Notes from 'To See the World in a Grain of Sand' (academic journal about Wolfgang Laib's work)
"herein lies the opportunity to consider the visual image of interconnectedness and experience of interpenetration as a possible 'spiritual' concern within these works and to negotiate the idea that human beings are the product of particles and molecules, at once particular and infinite, within a boundary but also boundless." Pg 57
Use of simple life-sourcing materials foster an arena of contemplation and gesture at notion of regeneration. Pg 58
Practice emphasizes asceticism, process, unending change, the merging of object and experience. Pg 59
At the core of his practice is a folding of life into art that is informed by hermetic and meditative processes
Switching from hard edges to soft feathered edges extended the work beyond the sculptural and into an amorphous spatial expanse. Ambient infusion of space. Pg 62
Pollen works create multitude of spatial and optical deceptions: boundless, shallow, deep, floating, immersive. Pg 62
Indras net - each jewel is a grain of pollen and each grain is connected. Pollen is alive, its particles sharing a life in this universe with the human beings experiencing the. Pg 65
Pollen art is a vehicle for vibrational sensation and higher consciousness through which the separation between self and world collapses. pg 68
Jeffery, Celina. 2013. “‘To See the World in a Grain of Sand’: Wolfgang Laib and the Aesthetics of Interpenetrability.” Religion & the Arts 17 (1/2): 57–73. doi:10.1163/15685292-12341254
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