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Quote from CohentheWriter on 28. October 2022, 6:48Museum Link: https://app.museumofcryptoart.com/collection/the-permanent-collection?collection=0x3b3ee1931dc30c1957379fac9aba94d1c48a5405&token=47194&page=5
Source Link: https://foundation.app/@undefined/foundation/47194
Date Minted: June 9, 2021
Artist Description: "Celestial's Moon" continues figurative expression with geometric and organic aspects. Using digital art tools/skills in Photoshop, the figure has been created with depth and precision. This precision is meant to embody the characteristics of futurism and the depth is meant to embody Surrealism & the imaginative spectrum that is the human mind. Iridescent purples and subtle, yet bold, patterns complement one another as they seamlessly come together to give the Celestial's atmosphere life.
CohentheWriter’s Commentary:
And right on the cusp where imagery breaks down into abstraction, we find Celestial’s Moon by raintheneo. I mean literally right at the exact point. Every time I look anew at Celestial’s Moon, I feel like I’m doing something wrong by seeing a face in it, by seeing a body, by recognizing any object herein. From the composition itself comes a compulsion to set aside my silly attempts at identification and simply exist among this confluence of flattened circles and ovals and teardrops and lines, of tiny paisley amoebas, intricate swirls, and fern-like unspooling curves. Celestial’s Moon is a disarmingly complex piece, but one that at the outset will probably strike many as simplistic, just how it struck me. This is false and is mostly our own fault, due to our own stubborn necessity to make patterns, build narratives, find facsimiles within artworks of things from our real lives. Of Celestial’s Moon, raintheneo writes “‘Celestial's Moon’ continues figurative expression with geometric and organic aspects. Using digital art tools/skills in Photoshop, the figure has been created with depth and precision. This precision is meant to embody the characteristics of futurism and the depth is meant to embody Surrealism & the imaginative spectrum that is the human mind. Iridescent purples and subtle, yet bold, patterns complement one another as they seamlessly come together to give the Celestial's atmosphere life.” Which is funny, because neither futurism nor surrealism stick out to me as adequate identifiers when discussing Celestial’s Moon’s composition. Abstraction, and expressionism a la Kandinsky seem much more apt. But that should only demonstrate the complexity of composition which raintheneo has created. And yet we still refuse to see anything but a human face blowing out breath.
Because that is the impression which dogs me. The outline of a human head in profile is cast in a different color from basically everything else in the piece. As raintheneo noted, this piece is covered almost completely in different purple and indigo hues, though the human head is an incongruous seafoam color instead. It sticks out. We can’t ignore it, and it can’t fade into the background at any point. Nor its rounded nose, its pursed lips. Even though other abstract symbols are also colored with non-purple hues —a tan circle in the frame’s bottom-left quadrant, a fat white teardrop which runs over the face itself, various lines of green which crisscross the piece in random places— none are quite so defiant as the human head. But really, if we peer at the head’s rounded edges, it seems to be as much a sequence of concentric shapes as the rest of the abstract piece, just seafoam circles in the arrangement of a head; whereas in the bottom of the piece, a veritable sea of purple is made of various purple shapes: half-circles filled-in with rich violet, thin and pointy trapezoidal tails of a much lighter lavender, and purples which descend into blacks before evening out into grainy silvers.
Then we must turn back to the human head, but not for its outline as much for what it contains. Perhaps you need to zoom in to see, and I encourage you to. Within the human head —around and beside the larger, purplish-raindrop shapes which, together, give the impression of flower petals— is an incredibly complex array of intricate polygons, the aforementioned paisley raindrops and swirls, but the more we zoom in, the more we realize that we’re looking at a diverse set of fractals, applied there in disintegrating brushstrokes like paint placed long ago on cave walls. Some of these fractal shapes take on the form of tree branches and flower petals. Others are hopelessly complicated mandalas we can only understand via their wholeness. Now, once we pull backward, unsticking our eyeballs from the screen itself, the rest of the piece appears even more exaggeratedly flattened and simplistic. We now know what was, quite literally, going on in this human’s head.
It’s hard to gauge what affects us more in Celestial’s Moon: the brilliant colors, the fey interplay of shapes, or the pervasiveness of the shapes we can recognize atop a backdrop of shapes we can’t. What a rich composition.
What ultimately maintains my attention is the way different elements within the piece affect others therein, creating a kind of meta-intertextuality. It’s the shapes that do this with the most flare, the way the small and dense shapes within the person’s head are almost antithetical to the way larger, almost stencil-like shapes build into larger elements of the composition itself. There almost seem to be two warring artworks here, the tiny and the huge, one marching inward, and the other trying to expand out. That sense of conflict extends to the color palette too. It forces us to take sides, to make decisions about which aspects of the piece we most identify with. The piece is cyclical in that way, initially encouraging us towards an attraction either to the abstract background or the one more-identifiable form. Then, once we’ve made our instinctual decision, further conflicts present themselves, between simplicity and complexity, between sections of the color wheel, between that which is intelligible and that which is not. There seems to be a sense of movement within Celestial’s Moon, but perhaps what I’m sensing is a movement within me, as my sensibilities and attractions change in real time, manipulated as they are by the composition.
Source Link: https://foundation.app/@undefined/foundation/47194
Date Minted: June 9, 2021
Artist Description: "Celestial's Moon" continues figurative expression with geometric and organic aspects. Using digital art tools/skills in Photoshop, the figure has been created with depth and precision. This precision is meant to embody the characteristics of futurism and the depth is meant to embody Surrealism & the imaginative spectrum that is the human mind. Iridescent purples and subtle, yet bold, patterns complement one another as they seamlessly come together to give the Celestial's atmosphere life.
CohentheWriter’s Commentary:
And right on the cusp where imagery breaks down into abstraction, we find Celestial’s Moon by raintheneo. I mean literally right at the exact point. Every time I look anew at Celestial’s Moon, I feel like I’m doing something wrong by seeing a face in it, by seeing a body, by recognizing any object herein. From the composition itself comes a compulsion to set aside my silly attempts at identification and simply exist among this confluence of flattened circles and ovals and teardrops and lines, of tiny paisley amoebas, intricate swirls, and fern-like unspooling curves. Celestial’s Moon is a disarmingly complex piece, but one that at the outset will probably strike many as simplistic, just how it struck me. This is false and is mostly our own fault, due to our own stubborn necessity to make patterns, build narratives, find facsimiles within artworks of things from our real lives. Of Celestial’s Moon, raintheneo writes “‘Celestial's Moon’ continues figurative expression with geometric and organic aspects. Using digital art tools/skills in Photoshop, the figure has been created with depth and precision. This precision is meant to embody the characteristics of futurism and the depth is meant to embody Surrealism & the imaginative spectrum that is the human mind. Iridescent purples and subtle, yet bold, patterns complement one another as they seamlessly come together to give the Celestial's atmosphere life.” Which is funny, because neither futurism nor surrealism stick out to me as adequate identifiers when discussing Celestial’s Moon’s composition. Abstraction, and expressionism a la Kandinsky seem much more apt. But that should only demonstrate the complexity of composition which raintheneo has created. And yet we still refuse to see anything but a human face blowing out breath.
Because that is the impression which dogs me. The outline of a human head in profile is cast in a different color from basically everything else in the piece. As raintheneo noted, this piece is covered almost completely in different purple and indigo hues, though the human head is an incongruous seafoam color instead. It sticks out. We can’t ignore it, and it can’t fade into the background at any point. Nor its rounded nose, its pursed lips. Even though other abstract symbols are also colored with non-purple hues —a tan circle in the frame’s bottom-left quadrant, a fat white teardrop which runs over the face itself, various lines of green which crisscross the piece in random places— none are quite so defiant as the human head. But really, if we peer at the head’s rounded edges, it seems to be as much a sequence of concentric shapes as the rest of the abstract piece, just seafoam circles in the arrangement of a head; whereas in the bottom of the piece, a veritable sea of purple is made of various purple shapes: half-circles filled-in with rich violet, thin and pointy trapezoidal tails of a much lighter lavender, and purples which descend into blacks before evening out into grainy silvers.
Then we must turn back to the human head, but not for its outline as much for what it contains. Perhaps you need to zoom in to see, and I encourage you to. Within the human head —around and beside the larger, purplish-raindrop shapes which, together, give the impression of flower petals— is an incredibly complex array of intricate polygons, the aforementioned paisley raindrops and swirls, but the more we zoom in, the more we realize that we’re looking at a diverse set of fractals, applied there in disintegrating brushstrokes like paint placed long ago on cave walls. Some of these fractal shapes take on the form of tree branches and flower petals. Others are hopelessly complicated mandalas we can only understand via their wholeness. Now, once we pull backward, unsticking our eyeballs from the screen itself, the rest of the piece appears even more exaggeratedly flattened and simplistic. We now know what was, quite literally, going on in this human’s head.
It’s hard to gauge what affects us more in Celestial’s Moon: the brilliant colors, the fey interplay of shapes, or the pervasiveness of the shapes we can recognize atop a backdrop of shapes we can’t. What a rich composition.
What ultimately maintains my attention is the way different elements within the piece affect others therein, creating a kind of meta-intertextuality. It’s the shapes that do this with the most flare, the way the small and dense shapes within the person’s head are almost antithetical to the way larger, almost stencil-like shapes build into larger elements of the composition itself. There almost seem to be two warring artworks here, the tiny and the huge, one marching inward, and the other trying to expand out. That sense of conflict extends to the color palette too. It forces us to take sides, to make decisions about which aspects of the piece we most identify with. The piece is cyclical in that way, initially encouraging us towards an attraction either to the abstract background or the one more-identifiable form. Then, once we’ve made our instinctual decision, further conflicts present themselves, between simplicity and complexity, between sections of the color wheel, between that which is intelligible and that which is not. There seems to be a sense of movement within Celestial’s Moon, but perhaps what I’m sensing is a movement within me, as my sensibilities and attractions change in real time, manipulated as they are by the composition.