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ART: Daphne Arthur is Artificially Inceptionating You

arthur el juego del tra tra 09 dims var 565x848 ART: Daphne Arthur is Artificially Inceptionating You

What is striking about Daphne Arthur’s work is the assimilation of the two-dimensional with the three-dimensional. The idea is not a new one: dimension is to art as connotation is to literature, the key being control of the effect. However, her use of dimension proves to be relatively unique.

Screen shot 2010 10 01 at 4.40.33 PM ART: Daphne Arthur is Artificially Inceptionating You

Arthur considers her work to be illustrations of, what she calls, “Psychological Spaces.” She defines these spaces as being “composed of sensorial experiences, memories, time, histories and cultural mythologies, combined to orchestrate ones’ sense of place and space.” Or, simply put, Arthur is describing you. You are the synthesis of a cognitive, or mental, self and a physical self. These are two different “spaces,” representing two different dimensions (two-dimensional and three-dimensional).

Screen shot 2010 10 01 at 4.40.52 PM ART: Daphne Arthur is Artificially Inceptionating You

Everyday, you navigate these spaces: you internalize the physical world, incorporating the physical with the mental. Arthur asserts that we go  “through states of transformation, from two dimensional to three dimensional characteristics that coalesce into morphing fragments, detritus, and residues of erupting elements; with the purpose of conflating reality with the fictional, to similarly emulate the vicissitudes of memory.” Now, I don’t speak Yale (I tried the Rosetta Stone package, but it proved to difficult). I do speak Public College, which shares its roots with the archaic Yale, so I’ll try to translate.

When you create a memory, your mind is converting the three-dimensional into the two-dimensional. You are constantly making memories, whether short-term or long. Arthur calls this “conflating reality with the fictional.” When you internalize something—when you put something to memory—you alter it, ever so slightly. This alteration is what she calls the “vicissitudes of memory.” That is, memory is alterable; reality is not, except in psychological spaces. Thus, it is in such spaces that true expression takes place. This is what Arthur depicts: the want to express in a space that allows for mutation and adaptation. Simply put, Arthur’s work represents our want to externalize our thoughts into a physical world—to put the love you feel into words, to articulate your fears.

Sounds nice.

To further blur the line between reality and unreality, go to www.daphnearthur.com

Scott Warfe

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