To be or not to be, the question is now, in a Colosseum that transformed from antiquity till our days, still existing in it’s performing power

 

The theme of the painting: the question of Colosseum in our society and consciousness which for some reasons sometimes feeds upon the misfortune of the performer

About this piece of art

This piece is entirely a communication between the historical and contemporary perception of history, written by those who survive. Colors have faded, and only form is still prominently standing in it’s glory. Time only exists through forms, which some would say eventually depicts the core of being, a skeleton that holds things together.

Sometimes we wonder, why is it that Colosseums were so blood thirsty, sacrificing staggering numbers of thousands of animals at times, and many people, but they were hardly the first of this type of entertainment that spoke to the masses. It was Circus Maximus that pre dated Roman Colosseum and was at least twice in size and capacity although not round bur quadrant in shape. Built in 6 BC, survived many fires and destructions until it was replaced by the Colosseum in 6 AD. 

This painting is examining the fascination humans have or had (hopefully) with suffering and victory in the public eye. The exploding popularity of the reality shows that we all witnessed in the recent years, have the elements from the times long past. We can imagine the pulse of times in those “primordial” eras to be all about the survival, fears and powers but in fact they probably had a very strong and vivid imagination, that had to feed on something immaterial but at the same time shocking and a “click bait” as we call them today, and engage the best minds of our times to come up with the right choice of words that would attract the numbers.

The numbers then get processed by those who organize the games and everyone goes home happy, except that in the greater scheme of things and constructive use of time, both sides lost, instead of dedicating their creative/free time to progress, they wanted to see the plethora of emotions being on a display in arena. Arenas are mostly covered in sand, and that is the reason why the dominant colour of this painting communicates “the shades of sands” to the world.

There is also a bird with the hollow eye that is non seeing but at the same time ever seeing, it is looking vertically at the passage of time and it belongs to the world of Charlie and Earling.

Charlie and Earling were using the painting as a part of a maze, as they both shrunk for fun to the size of a fairy tale’s pea, they were able to hold on to the lines and colours, to construct the invisible walls around every line and walk through the times of antiquity.

 

Charlie: Personally I prefer a VR simulator that actually brings me back through times as an invisible participant, but I also understand that you find that technology scary and prefer to examine the historical through the abstract existence of two dimensional creature, just like Flatland by Abbott explored.

 

Earling: You are a multidimensional creature since many centuries, whereas I am just discovering through use/merging with technology what it is like to experience the world from a different perspective that either becomes limiting or liberating.

Charlie: You have mystified birds as both villains and super heros, but this particular bird through which we are walking now is standing as a reminder to the times wasted. The eye is all seeing even though it can’t see physical reality outside of this two dimensional world.

 

Earling: It is communicating the reduction of human capacity as a price to pay for relative stability and the establishment of the power that ruled the Roman times for so many centuries. It is another proof that we don’t only feed that masses with what they want to, or is good for them, but rather what is the most shocking and involving. They want to be passive observer, but at the same time to be included in the deciding factor at the end of the show, much like today’s voting systems.

 

Charlie: This recipe seemed effective and it still is, up to a point, but this bird is in fact Anzu from a Sumerian myth, representing the sourthern winds and the thunder clouds, Anzu managed to steal the Tablet of Destinies for a while which meant it could rule the universe short period of time.

 

Earling: “if you are not smart enough to invent it, you are not smart enough to use it” is the famous line that portrays the deep functioning of this universe, even when it is not as obvious, so anything stolen could not possibly be a long term solution to their ambitions.

 

Charlie: Well said, but it seems to me that the human greed wanted so much, that the Tower of Babel happened to them, to slow them down through emphasizing their differences and ability to communicate, no matter how many games they watch together in the 21st century Arenas, it will only be the individual responsibility that feels the collective as a part of him/herself that will cross the bridge of differences in a healthy way.

 

Earling: This painting has a strange line that goes across it, it is almost slicing in pieces the deeply disliked and inhuman concept of Colosseum. Sumerian’s Sharur was the “smasher of thousands” and we still admire that feel the computer games give us when we smash something and perform the power of free will on it, the question is will we genetically modify ourselves so that we don’t feel those urges embedded for thousands of years, or will it be sufficient to just observe it as an act of Lucifer as Stockhausen described at one occasion that resulted in controversy.

Ideasrexoid no.1.6

To be or not to be, the question is now, in a Colosseum that transformed from antiquity till our days, still existing in it’s performing power

Medium: Acrylic on Canvas (solid wood frame)

Dimensions: 70cm x 30cm x 1.5cm

Year: 2017

Available as original or print

About this piece of art

This piece is entirely a communication between the historical and contemporary perception of history, written by those who survive. Colors have faded, and only form is still prominently standing in it’s glory. Time only exists through forms, which some would say eventually depicts the core of being, a skeleton that holds things together.

Sometimes we wonder, why is it that Colosseums were so blood thirsty, sacrificing staggering numbers of thousands of animals at times, and many people, but they were hardly the first of this type of entertainment that spoke to the masses. It was Circus Maximus that pre dated Roman Colosseum and was at least twice in size and capacity although not round bur quadrant in shape. Built in 6 BC, survived many fires and destructions until it was replaced by the Colosseum in 6 AD. 

This painting is examining the fascination humans have or had (hopefully) with suffering and victory in the public eye. The exploding popularity of the reality shows that we all witnessed in the recent years, have the elements from the times long past. We can imagine the pulse of times in those “primordial” eras to be all about the survival, fears and powers but in fact they probably had a very strong and vivid imagination, that had to feed on something immaterial but at the same time shocking and a “click bait” as we call them today, and engage the best minds of our times to come up with the right choice of words that would attract the numbers.

The numbers then get processed by those who organize the games and everyone goes home happy, except that in the greater scheme of things and constructive use of time, both sides lost, instead of dedicating their creative/free time to progress, they wanted to see the plethora of emotions being on a display in arena. Arenas are mostly covered in sand, and that is the reason why the dominant colour of this painting communicates “the shades of sands” to the world.

There is also a bird with the hollow eye that is non seeing but at the same time ever seeing, it is looking vertically at the passage of time and it belongs to the world of Charlie and Earling.

Collective stream of consciousness at the early stage of this piece

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