The Omicron Paintings - Body Form Philosophy

[robertkernodle]

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The Omicron Paintings - Body Form Philosophy





Omicron Contraction No. 2
Painting on canvas, 40 x 30 inches



In The Omicrons, brute physicality of the human body exists simultaneously with its greater infinite extent. An ellipse around (or about) each figure's center always emerged as an absolutely necessary element to fulfill this awareness.

Extremities such as hands, feet or face never were defined in any detail, since interest was focused on the larger body gesture. The larger body gesture (from a dancer's perspective) extends past anatomical extremities into surrounding space.

Interestingly, the ellipse around each figure seems to speak of a profound centrality, a central vibration, or a centering primacy pulsating past visible body limits.

Concentric spherical waves in the Wave Structue of Matter? The infinite extent of mass in Einstein's conception of mass? These comparisons are unavoidable.

Each Omicron painting always demanded an accompanying verbal passage. For example:


Omicron Contraction No. 2

Two general tendencies prevail and share their turns at being. One - an outwardgoing force relaxes, lengthens and frees. The other - an inwardcoming force tenses, shortens and gathers energy. Between the two is where form takes shape, a body feels, a mind awakes. Great connections get made. Mass allies with time, power generates; we find our truest strength.


This passage was written five years before any awareness of Wave Structure of Matter theory.



Robert Kernodle

(http://www.geocities.com/eldonrek/)