When I started my artistic adventures the era was referred as the Modern period but as I moved along in the timeline that nomenclature, and some of its conventions, fell from favor; what became convention was then termed Post-Modern – yet that too has since withered. From my point of view all the recent fuss is merely par for the course; Modern, in its necessity, merely keeps re-evaluating what-else is recognizable by mind and the tools mind forges – most being simply toys by evidence of our fickle nature.
So if I am less inclined to follow those controversies, what point of departure am I accustomed to setting sail from in my tireless search for creative images? And the answer to that is as ambiguous as the question, ‘What is art?’, when it comes to these singular, static and two dimensional images. Images created with a contemporary attitude for exploration; with little or no boundary; and a well activated Imagination venting from the deep regions, reality, of Intuition - at its most awesome potency and dimensional capability.
So gathered here are images and ideas; images that suggest themselves as becoming more than one notion; notions that retrieve noetic issue and imaginal timeless wonder.
Keywords for this website include but are not limited to - visual arts, contemporary creative imagery, noetics, active imagination, intuition, modern art, creative process, imaginal, prospecting subjectivity, cognitive Imagination, purposive ambiguity, abstractions of circumstance, symbol, alchemy, philosophy of aesthetics, Paradise, absolute Truth, rites of passage, threshold symbolism, mind, Abstract Expressionism, Hudson River School, American art movements
“In the universe, there are things that are known,
and things that are unknown,
and in between them, there are doors.”
― William Blake
Creative imagery arises from an array of media and in this case, for many years, the activity oscillated between photography and the more dexterous methods for crafting an image - painting, drawing, printmaking, etc., with paints, chalk and ink. And even that the two methods had respectful criteria, the dichotomy posed visual dilemma when wishing to arrange the two in the close quarters of a limited exhibit space. Eventually, with little effort, intuitively so to speak, the tension was relieved by including a third, mediating aesthetic to the mix: programed computer imagery inevitably became a reconciling agent and adapted well to the attitude that guided my experiences. Noted below are examples of each type of treatment generally adhered to in my studio. CLICK an image to explore my notions and more imagery.
Computer Imagery
Painting & Drawing
Photography
THE NICKLE TOUR
Even that my principal sphere is visual art my subject remains centered in the noetic concerns that mind probes of this reality we perceive as the event of life. The subject is a riddle to be sure; and through the ages it is conjured to the extents that Imagination might take it. And it is wondered beyond itself, where we drift in our conjecture only to reach a new threshold with the same old itinerary dubbed the Mysteries.
Along our way the explorers of us journey in many directions; some to the infinite reaches of space, others to the minute of quantum physics; some wonder the chemistry of the event, others probe the spirit of a mind or test hypothesis beyond what we know to the what-else that might unfurl from the shadowy corners at the extent of consciousness. Whatever direction is recognized, there is one of us willing to embark into its unfathomed recess. Ostensibly that is my own endeavor; an attempt to find the harmony of forms that propel mind to the far reaches of the noetic experience, of consciousness and the intelligible – perhaps to glimpse the purposiveness that it rests in. And to that end I claim: What we are aware of is withstood by something far less complicated or complex but which would have us believe otherwise.
So I probe ‘creative image’; specifically my thesis is concerned with these examples that: are singular as opposed to sequential (wall art rather than animation, film or video); two dimensional in their materiality (but then again multi-layered and intelligently dimensional beyond any literal bearings); besides the static posture the images are breathlessly quiet – yet that does not mean they are silent (on the contrary they are said to be most talkative and evocative). Within that ruling is a vast world of potential, more than I alone would have time enough to explore – in all honesty the assertion is an infinitely expanding compendium of circumstances; itself a timeless discipline or might I say art.
The subject is examined in books that I have arranged over recent years and make available here as downloadable PDF files. The experiences are examples of the potential that can develop out of a mindset that is willing to ‘hear’ what visual creative forms suggest to an active imaginative consciousness, a cognitive Imagination. Such attitudinal resolve and self-possession is in no way ego-driven it is simply ‘in sympathy with all that is possible’. What is described throughout the compilation of experiences is that images need not be consciously designed; images will virtually constellate themselves if given the opportunity and circumstances to do so.
What I am proposing is that the ‘artistic’ image is inherently capable to bridge consciousness with its least demonstrable terrains that occasionally surface and become acknowledged – even that they remain outside the rationale we refer as authentic, real. These images foremost cooperate with the original mind that recognized them – the artist. But in my scheme the proposals that are suggested to one mind are steadfast and would be qualified by any mind (not literally but reasonably), in any time or circumstance thus familiarly pivotal – making the posture universal, archetypal, and prepared to be given individual topography that is collectively contextual. Basically we are speaking of a common or shared point of view that crafts equilibrium where once tireless duality reigned – instinctual, speciated; an ethos without irrelevant social constraint or prejudice; an outcome, consequence, of the inclusive dimensionality of Intuition (the yet active residue of something we might think of as an extreme, some kind of ostensible 'absoluteness' that stimulates all that we are part of).
So the notion is that Intuition and its handmaiden Imagination, used more efficiently, hold much promise for the human mind. One artist, one viewer at a time, the notion of a common denominator that infiltrates controversy gets footing; tilts individual rationales from conflicting trajectories; to an individuated, paralleling, and underlying principle - or so it is hoped!
Note concerning all Share Links – For the most flexible and enjoyable viewing of these PDF files; we recommend downloading each file and viewing it in Adobe Reader, 2-page view (downloading is not required to open these files).
"To love a painting is to feel that its presence is...not an object but a voice."
-- André Malraux
SHARE LINK for: VOL 1 Temporal and Timeless Motifs
GALLERY 1 - Part of the Tdparts Gallery at Fine Art America
SHARE LINK Neighborhoods Chapter 1
SHARE LINK Leap of Faith Catalog 2019
P.O. Box 201, Palenville, NY,USA 12463
or by email through the Tdparts Gallery at Fine Art America (link above)
The contents (contents being images, graphics, artist statements, writing, and logos) of this website, including PDF files is copyright © Terrance DePietro, Palenville, NY, 2022, 2023, 2024, 2025; All rights are expressly reserved and, as such, is protected by US and International Copyright.
