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Danna Ruth HarveyVisit Danna Ruth Harvey's Current Exhibition |
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| "A Small Forest"
31" X 36"
oil, wax & cloth on board |
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| "Where the Roots of all Growth Drink" 36" X 48" oil, wax & cloth on board |
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| "The Part Not Seen"
32" X 36"
oil, wax & cloth on board |
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| Artist's Statement |
TIME PASSING
There are two common concepts of time. There is, of course, "Time"
with a big "T." We think of this time as monumental Time or Eternity,
which almost seems not to move. And second, there is "chronos" time:
the time of measure situating things and persons in history. This time is
the steady, repetitive movement of linear teleological time.
Teleological time is about final causes, the fact or quality of being
directed toward a definite end or of having an ultimate purpose,
especially as attributed to natural processes. Time's arrow is a
metaphor for this relentless forward march of time as a means to an
ending. The ordinary depiction of time's movement as chronologically
linear is inadequate to express the human experience of time.
In my paintings I am focusing on a third possible perception of time as
an alternative view of time's linear progression. I am suggesting that
"time passing" is not directed toward an "ending", but rather a
"becoming." Evidence always remains of time's passing. These
changes are recorded in many ways, two of which are in the earth and
in the human body. All forms are in transformation and their lives are
therefore, extended through these changes. For example, in nature,
each season "becomes" simultaneously as the previous season passes.
The liminal border between each season is invisible. "Time passing" i
a fine thread so intricately and invisibly woven that the boundaries
become dissolved and each season is freed to rematerialize into
something new and unique. This mode of temporality is very different
from measured or pulsed time. It is indefinite, irregular, and floating.
Its beginning and ending are indistinguishable. It has neither origin
nor destination.
As I work on a painting, it changes with each additional layer. The
layers suggest depth of time rather than length of time. Each layer
exists for a duration retaining traces of what happened before an
awaiting what will come next. The painting is always in the process of
coming about as time passes and takes the instant away. This third
mode of temporality suggests the "meanwhile" of time - the change
that happens between moments of time.
2006 |
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