Miles McAlinden - Bell, Book and Candle
artwork

Things (red tartan)
2000
cut oilcloth
100x80cm

Now (blue check, flowers)
2000
cut vinyl cloth
100x80cm

Things (flowers yellow)
2000
cut vinyl cloth
40x35cm

Seeing (red check)
2000
cut vinyl cloth
40x35cm

Now (green check)
2000
cut vinyl cloth
40x35cm

Now (pasta)
2000
cut vinyl cloth
40x35cm

Vacant Space (triptych)
2001
cut vinyl cloth
(3x) 40x35cm

Vacant Space (red/yellow)
2001
cut vinyl cloth
40x35cm
Painting is a delight and a challenge: a delight to look at and a challenge to make, and a delight to make and a challenge to look at.
Modern technology is surreptitiously educating people to be more visually literate.
Everyone has ‘feelings’ about the ‘meaning’ of a work of art. ‘Feelings’ are good for art but often a hindrance to analysis and criticism. Emotion can get in the way of understanding. It lacks control, objectivity, logic, and proven fact (truth), but it is always present at the viewing.
While criticism is transient, the visual object has a permanent form. While objects never changes, our vision and interpretation of it does.
There is no benefit in asking a poet to explain his poetry in prose, nor the footballer the goal he scored, nor the magician who made the elephant disappear.
What do we recognise as an image? Is it a sign, a symbol, an icon, a photograph, a painting, an illusion, a narrative?
Later I found that ‘bell, book a candle’ refers to excommunication from the Catholic Church. In the ceremony the priest closes the book, snuffs out the candle and then tolls the bell, and says, ’So be it’.
An extra surprise and bonus occurred with ‘Infinity’. In it’s way it proved that infinity is not constant but fluctuates due to temperature. How can I prove this? ‘Infinity’ was hanging over an electric panel. When the panel was on the word ‘Infinity’ expanded, became softer, rounder, slacker, more plastic. When the panel was off, ’infinity’ was tight, straight and sharp. This was undoubted proof of considerable fluctuation in infinity.
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