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Bridges to the Inexpressible an introduction to the
work of Genie Poretzky-Lee
by Aidan Andrew Dun

To exist is to experience a world of two sides, to inhabit a duality. The polarity of gender is perhaps the most extreme evidence of doubleness in the human universe, yet myriads of opposites illustrate a split in the basic structure of reality. Functioning by analogy representational art is one mechanism we possess for commenting on this familiar duality. When abstraction enters the aesthetic equation it suggests some primary experience outside manifestion still connected with the world of duality by tenuous analogical bridges, bridges that evaporate as they disappear into the inexplicable. In philosophical language abstraction is about pure idea while representation concerns itself with the world of forms and their infinite juxtapositions.

Representational art could be described as exploring the dialogue between conscious and unconscious minds, while abstract art concerns itself with superconsciousness. To use a visual metaphor: if we imagine the base of a triangle where two corner-points stand for the comparative process (which likens one thing to another in the experience of duality) then abstract art belongs at the apex, in the world of unity. One more possible way of approaching a definition of the abstract, which by its nature resists definition, is to invoke the relationship between the potter and his form of clay. Perhaps this comparison best analogises the obscure subject of abstraction since it emphasizes the way in which idea must precede form.

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