As I’ve mentioned in previous posts on my art and life blog and on my web site, I have a keen interest in the work of the Austrian Philosopher
Ludwig Wittgenstein. His explorations into the limits of language, so eloquently persued in his Tractatus Logico-Philosophicus, have had a direct impact on my work throughout the years.
A book was recently published entitled “Wittgenstein Flies a Kite: A Story of Models of Wings and Models of the World” The book was written by Susan G. Sterrett, an assistant Professor of Philosophy at Duke University. It is an exciting and insightful look into the history and development of aeronautics and Wittgenstein’s pursuit of the limits of language in his “Tractatus.” It is also an engaging and additionally insightful example of the creative process. A book I would highly recommend to anyone interested in the topics I’ve mentioned. I wrote to professor Sterrett and she was kind enough to take the time to read a couple of essays on my web site that were directly related to some of the ideas in her book and responded in a very positive manner to my interest in her topic.
Anyway…Professor Sterrett’s insight’s has rekindled my interest in one of Wittgenstein’s principal questions as to how “picturing” and “similarity correspondence” relates to his ideas on language. My own understanding of those ideas, as I have pursued them in painting, and how they relate to visual metaphor, expression and communication, has led me to some new images. And…I would like to share them with you.
The two images below stem from a popular visual conundrum, the
neckercube, that I used in an attempt to try and establish an argument about simultaneity and Wittgenstein's views on the limits of language while writing my MFA thesis at the University of Chicago in 1977. Leaving all pretensions aside as to how an approach as seemingly intellectual as all this may seem, along with the expertise needed to approach such a huge philosophical problem in language, suffice to say that this is how I PLAY!
As I wait for my project for McCormick place in Chicago to begin, I see these initial ideas as some new work to be pursued in the near future; as paintings, prints, and drawings. Consider these the kernels of a new approach to my work. I hope you will enjoy them.
