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The absolute order of the interior, while destined to decay and fail, will continue to be part of life to the extent that it loses balance with what comes from the outside.

In feeling her paintings, we understand that what is permanent is not the settled spaces but stairs. The moment we think we settle down, we feel that we become nomadic as the space evolves into disorder.

Such closed systems with no energy input would only follow the second law of thermodynamics and would cause chaos rather than order, or in other word increase entropy.

Our balance will be constantly disrupted as we get exposed to powers on the outside and will regain balance with every step we take, and balance and unbalance will pursue each other as a perpetual movement. And stairs are spaces that are open to coincidents as opposed to our homes which are spaces of calculability and predictability. And blue is the past perfect tense of this tale. She hints at the transition between cosmos and chaos by way of pulling order to the limits of disorder in expressionistically reflecting space onto her canvas.


The expressionist feeling we encounter in her paintings is nourished by the unstable, dizzying and traumatic despair of our times.

The artist makes the viewer question the soul of space and time by composing overlapping spaces with the aid of reflections, curves and intersecting lines. Transition points algl we can experience uncalculated encounters. What she envisions is hidden behind the light that permeates her paintings concerning the skies and the earth.

Her painting Hagia Sophia, for instance, is timeless. Today, as we focus on ourselves and keep on falling in blind wells, we sense that stairs are an important aspect that bind the outside with inside.

To resist not for our dreams but for what remains at hand! The power within a black line is the translatable form of fire, solitude and fear.


The earth will manifest itself from very different angles as the stairs are carried onto varying planes. While the brush strokes rapidly facing towards the center imply the unpredictable threats that constantly haunt us, courage is stepping in on the demolished, broken glass stairs wanting to escape from the loop.

While nomads move in all directions on earth, we the settled become nomadic where we are as the spaces we create get deranged. We journey through points that are symbols for being settled and order and we define ourselves through the settled points rather than the transitionary ones. To belong to nature by living in the city. The thoughts that emerge from what is happening in nature, and thoughts that multiply, remind us, with a sad imaginary, of the dry climate that transforms the earth into a guagmire.

What we see is a new language.

In our settled lives, in the daily journeys that we make to settle down, we kapilsri to go through stairs. Interlocking spaces, appearance and disappearance of trees, and the impressions of landscapes are suddenly divided by harsh vertical or horizontal elements like the lines wishing to erase the written.


Algı Kapıları – Aldous Huxley

Disorderly spaces against spaces where we experience order. The outside is important. Perfect balance is death.

To dream within the challenging atmosphere of this dichotomy. Stairs in apartment buildings, with their unpredictability, have always frightened us. The broken stairs are there to take us to kapilarri light.

Stairs that trespass the horizon, broken but resolute steps, the trees in her more recent work and the garden that we mistaken for a forest…. We are to traverse the stairs before we can reach the secure environment of our overly-defined residences.

Algı Kapıları – Cennet ve Cehennem – Aldous Huxley Download ( Pages)

The future, perhaps, is hidden beneath the reflections, at the tip of the stairs. Horizontals, verticals that divide the canvas, deep colors that run from one end to the other, broken lines… They tell the viewer to forget everything pertaining to pictorial representation.

Every reality presents different perspectives and opens the doors of perception kapilar subjective views that look at it, and the artist is very well aware of this.