the intersection of art and psychology

The Intersection of Art and Psychology

-Photo credit: Eva Lee3/28/2013


After spending the last several days in the psych ward of Yale NewHaven Medical Center and reflecting upon my experiences and thoughts,

I chose to write this article in an attempt to explore the intersection of psychology, science and art. My life had spiraled out of control and while under the care of a visionary psychiatrist, Dr. Juan Carlos Cleves-Bayon. The Dr, in conjunction along with a caring and attentive nursing staff who's names I was unfortunately in no place to remember with the exception of Sarah, who's kindness was so appreciated that I may never forget were able to draw me outside of my own thoughts, leaving me the ability to see things with perspective rather than filtered through the lens of my own sick mind. As I began to see things more clearly and attending groups by some wonderful people I noticed that so many of them used art as a form of expelling thoughts that may be harmful to one’s self. It was quickly evident that the practice of art and expression was therapeutic not only to myselfbut to virtually everyone in the groups. Automatism, psychography andexpression in its purest form seemed to create a pathway to the subconscious where one could use their own thoughts as a tool of selfactualization rather than allow them to take over their lives.

As a video artist collaborating primarily with Dr. Paul J Botelho, amusician, professor and composer I always found that my component ofour work was the essentially using video as a form of autocraft. Ourworks are based on principle of synchronicity. The video artist andthe composer never work directly with one another’s work during thecollaboration. Only the specific duration of the piece is agreed uponand no other communication in regard to the work is made during the


collaboration. Solely upon the completion of both the video and musiccomponents is the work realized. The artists call this process acollective subconscious, a term which refers not only to theexclusionary creative actions which take place in their collaborativeeffort, but more broadly as the commonality that permeates betwixt theartists and those close to them. I have always found a certainontologism in our work as we have explored this practice since 1994with virtually every collaboration seemingly becoming a cohesive pieceas though it was created by intention not by chance.

This lead me to see the different roles that psychology plays in thecreation of art and at least to me begged the question, as an artist,psychiatric professional or just human being is psychology used as anintrospective tool to understand yourself or as a form of manipulatingor shaping the perception of your audience? Perhaps both.

Early techniques that I used in video art such as re-scanning an imagereminded me of a memory that started as a pure thought and thought ofover and over became convoluted and impressed upon by currentexperiences and perspectives thereby altering the original memory.

porte bebe 1994,Russell Chartier and Paul Botelho


Feedback in video, particularly analog video is essentially the samething as a recurring thought process. I've often felt as though I waslocked into a thought that was recurring and becoming it's ownevolving entity as I thought about it more and more. In video thisprocess is done by pointing a camera at a monitor which is reading theoutput of the camera. The image will eventually collapse upon itselfand take on its own form. Thoughts when experienced this way tend tocollapse and become layered, introspection aimed at introspection,pointed at introspection.

I also became extremely aware of the placement of images, or events ina sequence and how they could drastically change the way in which anevent, visual experience or memory occurs. In art we can craft asequence to alter the thoughts of our viewers, sell soda or tell astory. I believe that memory, often dictated by the subconscious isoften displaced from its original sequence. The sequence in whichthese memories or images occur can greatly alter the emotions whichthese memories evoke. These techniques were widely used in SovietMontage Theory who’s birth is usually attributed to Sergei Eisenstein.


If one were to look at an image of a kitten followed by an image of abowl of milk and see these in sequence the meaning would be vastlydifferent than if images of that same kitten were to be cross cut withan image of a meat clever and viewed in sequence. I believe that thesequence of memories can alter the memories themselves. There arecountless variables and external stimuli that may change the sequencein which these memories occur.

Upon being released from inpatient psychiatric care I began to seeimpact I caused to the many people that I had left in my wake. Perhapswhile living completely inside your own head, not attempting tomanipulate the thoughts of others the impact can be even more severe.

In this article I have gathered the thoughts of several people whom Irespect to share their thoughts on this subject. I would like to startwith my lovely and talented wife, a brilliant author and a reallooker. I am sorry to say that my actions nearly destroyed her and nobigger crime could be committed against this world. I wanted to see ifour processes deviated from one another and how we may deliberate themindividually, see how they work together or opposition and influencethe dynamics of our relationship.

This article is meant to be open source. It may be altered or expanded by anyone at any time. If you would like to contribute or add to this please email me at: [email protected] and I will share access to this manuscript on my Google drive.

mailto:[email protected]


Dr. Irene Caesar

I have been given the great privilege of a contribution by Dr. IreneCaesar discussing her work with Psyotronics used to create an encodedSelf-portrait "MAN-SUN" which was discussed at her Jubilee Lecture atthe Museum of Modern Art in Moscow in March of 2013

The piece was created by encoding the text of her manifesto "Man-Sun"utilizing lasers at the Institute for National Security in Moscow.

TEXT FOR CODING: MANIFESTO "MAN-SUN"


-Photo credit: DR Irene Caesar

"Universe is entirely in its every point, so that each point is notsimply different from any other point, but is unique. so there is nocontradiction between patriotism and cosmopolitanism, but there is the


unity of the cosmos, the city and the soul.

The more we love our motherland, the more we are able to have a global vision.

The more we are individual, the more we are able to share theinterests of others, and promote the common good.

A man who identifies himself with his city and with the entireuniverse is Man-Sun.

This is the holographic or matrix principle, the fundamental law ofquantum physics, which is now to be realized as being fundamental inevery field of human knowledge, and, in particular, as the basis forpolitical and social philosophy.

The universe, being eternal and infinite, and everywhere fullypresent, is the ABSOLUTE GOOD AND LOVE. If this were not so, and theuniverse world be the ABSOLUTE EVIL AND CHAOS, it would have destroyeditself. Evil is relative and does not have absolute existence.

Unity of the cosmos, the city and the soul is a consciouscontemplation of the absolute good. This is the light that does notcast a shadow.

Waves, carrying information, pass through the walls, and no one onBentley can be happy, if an orphan is crying behind the wall.

Man crying from grief makes the entire universe tremble with sobs.

Man, who is indifferent to the pain of man, crying from despair, is


more damaging to the universe than the Earth destroyed by a nuclearexplosion.

Only Man-Sun can fly to the stars, because it is not done on aspaceship. Leaving the electromagnetic field of the earth, man getsdestroyed. Moving to the stars is possible only through the portals ofteleportation. Teleportation portal is the zero focus of a wavecrystal.

Teleportation portal is a child’s wave matrix, the matrix of light ineach of us.

We need teleportation to be saved, when the Earth will be destroyed bythe global cosmic catastrophe.

But there is a holographic teleportation - when Man-Sun recalls of histrue, luminous, nature.

Man-Sun is a "God-Man" for philosophers of Russian Silver Age.

Yes, both animals and Man-Sun are the holographic wave crystals. Butunlike animals, Man-Sun focuses the entire universe in the center ofhis wave crystal, that is, he has the awareness or consciouscontemplation of the entire universe in the focus of his wave crystal.

Man-Sun feels responsible for himself, for his city, and for theentire universe, and acts in accordance with this impulse.

Man-Sun builds Matrix Cities, which are the integratedinformation-wave matrices.


In these Cities, Man-Sun controls live forms, climate, and geophysicalprocesses at a distance - through the transfer of wave matrices.

Russia has kept this knowledge, because Russia is the root of humancivilization that remained after the worldwide flood. Arkaim is moreancient than Egyptian Pyramids for tens of thousands of years.

This and only this is Russia's national idea.

This and only this is our ancestral heritage.

This and only this is the salvation of Russia and of the entire human

civilization on the planet Earth." -Dr, Irene Caesar, Moscow

http://irenecaesar.livejournal.com/17538.html

Eva Lee:

We have had the great pleasure of exhibiting Eva Lee, a visionary artist who

happens to reside in our local area.

Lee has worked with neuroscientists in the creation of her works. She


recently participated in a fascinating panel discussion entitled "Space Time:

Presence" as part of the New Museum Ideas City Festival in NYC on March 3rd

6-8pm. The event took place at the Christopher Henry Gallery at 127

Elizabeth Street, new York, NY.

In a piece entitled research re-imagined, participating artist Eva Lee

worked with Dr. Einar Mencl, director of neuroimaging research at

Yale University’s Haskins Laboratories, and, based on their conversations,

created a visual poem entitled “Word Brain.”

In an e-mail, Lee wrote, “The Haskins project fits my interests

because at the heart of my work is me wondering what the nature of

mind and reality is. Science, as one way to investigate mind, yields

some fascinating research and knowledge. At Haskins, where scientists

look at the mind/brain connection in the context of language, I

thought I would make art using their MRI images and words relevant to

their studies. The resultant animation was a visual poem. As an artist

I enjoy making work based on scientific materials or findings because


I get to learn in the process, and hopefully, what I re- present is

evocative and more than the sum of its parts for the viewer.”

In an excerpt from "Mindsets: Artists and Scientists Collaborate”

Catalogue, presented by the New Haven Arts Council in partnership

with Haskin Laboratories, Lee describes her work with Dr. Mencl as follows.

“Word Brain” presents a visual poem inspired by Haskins Laboratories’ work and Einar Mencl’s

neuroimaging concerns. It incorporates both words and images which

come directly from communication with Einar. The piece began with my

thinking about the terminology of neuroscience. I left his office the

day of our meeting with words such as ‘neuron orientation,’ and ‘blood

oxygenation’ re- verberating through my mind. I thought, after all,

Haskins is a place where researchers conduct “the science of the

spoken and written word,” according to the laboratory’s

motto, so why not go with the word flow? Haskins’ motto thus continued

to preoccupy my thoughts like a mantra, and I began to work from this

heightened experience of words. I first started arranging “science,”


“spoken,” “written,” and “word” in each corner of my 2D composition,

while assembling some of the laboratories’ glowing images of subjects

and brains in cross-section and orthogonal views in the center. I

added phrases I remembered or found striking from my conversation with

Einar. I especially liked including “@@@@@,” which was shown to

subjects in an experiment on the cognition of real words. I thought it

was an interesting representation of a non-word with a humorous

pronun- ciation. While I originally intended to make only a large

digital print for this exhibition, I realized my piece was forming

into wordplay, which adding movement, such as ones recalling scanning

devices and x-ray views, would improve. The floating shapes throughout

are color-coded activated brain areas lifted from their original

Haskins sources

Haskins Laboratories is an independent, international,

multidisciplinary community of researchers conducting basic research

on spoken and written language. Exchanging ideas, fostering

collaborations, and forging partnerships across the sciences, it


produces groundbreaking research that enhances our understanding of --

and reveals ways to improve or remediate -- speech perception and

production, reading and reading disabilities, and human communication.

Video link to “Word Brain”: https://vimeo.com/19936362

https://vimeo.com/19936362


photo credit Eva Lee


Word Brain, archival digital print, 22 x 28”, 2012.

Miss Lee's work is discussed in depth in a wonderful article in ARTiculACTION

http://issuu.com/articulaction/docs/articulaction_art_review_-_march_2013/1

Lee's latest presentation was a panel discussion entitled: "Space Time:

Presence,” part of Part of New Museum Ideas City Festival on Friday, May 3,

6-8pm, at Christopher Henry Gallery in New York, NY Mikyung Kim, Pile-

Strata 9-6, 2011. Resin, pigment on screen-printed wood. Courtesy the artist

The Asian-American Arts Centre proposes a discussion and visual

presentations by four artists, a scientist, and a literary professor

on contemporary ideas of space-time and the aesthetic experiences

related to these abstract concepts.

Theories of relativity and quantum mechanics have been around for some

time and have attained popular exposure, and yet Newtonian structural

http://issuu.com/articulaction/docs/articulaction_art_review_-_march_2013/1


perceptions prevail. The fourth dimension of space-time remains

fiction.

In a cultural matrix where diverse cultural expressions are welcome,

Asian-Pacific American artists’ works can give insight into our era

and the cultural horizons that remain to be embraced. Profound changes

to such fundamental notions are at stake here, along with implications

for the protocols implemented in public space. This event proposes a

dialogue between scientists, artists, and humanists on this question

in the context of Lower Manhattan’s Chinese-American community and the

Bowery’s art community.

Proposed artists: Christine Chow, Mikyung Kim, Eva Lee, and Haeri Yoo.

Professors: Yibing Huang, literary scholar, and, tentatively, Dr.

Robert Crease, philosopher of science, with Robert Lee, Director of

AAAC, as moderator."

-ref: http://www.ideas-city.org/view/space-time-presence

http://www.ideas-city.org/view/space-time-presence


Marko Luli ć

Wien, Austria

Marko Lulic of Wein Austria explores these principles in his work

"Psychogeometry"

“Marko Lulić's works deal with a wide range of themes which he

visualises through various media. Two of his core themes are most

certainly public space and the concept of memory, which also play a

vital role in his current exhibition at Gabriele Senn Galerie,

Psychogeography. The artist combines aspects such as psychology,geography and urbanistics, which, ever since the so-called spatial

turn, have become a focus of increased research in the context of

space, not only in art but also in science.


Lulić, who mostly works with the media object, video and installation,

often accentuates the role of the body in his works. Together with the

performative element, which constitutes an integral part of the

development process, the body theme is also a significant factor in

his current works. In the case at hand, it centers on a walk through

the city or, rather, the exploration thereof. Lulić's current project

is not only about a random route, but chronicles a very personal way,

because it follows a trace of memory, leading up to the present. The

artist strolls through his biography which is connected with this city

– Vienna – and visits the houses he has lived in so far. The result

thereof is a topology nurtured by his memories. But as the process

transcends beyond the mere visit and results in a corporal questioning

of the space itself, so to speak in an additional level, it thus

breaks through the simple memory.

As method for this exploration of the space, Lulić has chosen that of an


artistic, graphic touch – frottage. This technique is considered to be quite out

of fashion these days and has collected a certain layer of dust. But this is

exactly why Lulić has picked it here and has integrated it into his

performative act. He not only explores the city, but at the same time

also looks into the artistic method which he applies in the process.

Etymologically, frottage derives from the French term for rubbing

"frotter".

The performative and intimate are inherent but the word

also contains a certain element of distance – the paper stands between

the performer and the object of frottage, in this case that is the

wall of a house. The result exhibited at the gallery, i.e. frottage

works in combination with photos which document the performance and

the space, refers to a topology. However, it shall not be seen as a

literary mental map which Lulić intends to present for it is only the

observer who can sketch this map him- or herself by finding a relation


between the works, thereby breaking through his or her own perception

and interpretation. Lulić's works are no geographic maps, no – they

rather constitute documents of his search for evidence – imprints and

copies – which together make up the coordinates of a very specific

social space.

Lulić is currently working on different projects through which he

deals with public space in Vienna in a quite varied way. The

Psychogeography exhibition is the first one of these projects which are to be

presented in 2013.

The term psychogeography, to which the current exhibition refers to, was

coined by Guy Debord. Even though Lulić's process of exploring the city does

not exactly reflect the situationist method, it still resembles it in its

cartography process by highlighting the emotional and individual element.

In Psychogeography, the artist, who in his previous solo exhibitionsat Gabriele Senn Galerie mainly drew attention to him by large-scaled


objects and installations, now focuses on the selected works which

combine frottage and documentary photos. This deliberate and conscious

choice of medium also contrasts his prior projects. The graphics – in

this case, the frottage – is embedded into a conceptual project whose

beginning is marked by the performative – assuming the form of a walk.

It is not necessarily the flaneur whose role Lulić choses to assume

but rather that of an archaeologist. The archaeologist who does not

only explore the layers of the city, but also those of his own mind.

At this point, it is also worth mentioning that Lulić shall primarily

be seen as an artist – an artist who plays with various roles and who

is no stranger to self-mockery.”

-Marko Lulic

An upcoming event entitled FASHION 時裝 MODA МОДА presents FIFTH DIMENSION

["Einstein postulated the dimensions of space/time. Quantum Mechanics

established the existence of other dimensions in the universe. String


theory explored these hidden dimensions using mathematics. We humans

are aware of just a fraction of reality. Dark Matter represents almost

90% of the universe and we are just beginning to understand it. The

relation of matter and energy is an intersection of dimensions. The

possibility of accessing the fifth dimension becomes a probability in

the light of recent discoveries. "]

FASHION 時裝 MODA МОДА is organizing FIFTH DIMENSION as an ongoingproject that addresses the topic of other dimensionality and relatedreality.


photo credit- Jack Van der Well

Artists and scientists are encouraged and invited to participate.

FIFTH DIMENSION will start with an exhibition on 1008 Main St. inPeekskill, Westchester County, New York, planning other locations inthe Hudson Valley, in New York City, on the global level and on theinternet.

This continues FASHION 時裝 MODA МОДА’s history as to curatorialinvention and intervention.

The first FIFTH DIMENSION exhibition is at 1008 Main Street ,a uniquehistorical building in Peekskill’s Artist District. FASHION MODA wantsto thank Fourmen Construction Inc. for generously providing this


inspired location.

The show will run from May 2 to June 2, 2013. On the final weekend ofJune 1-2, FIFTH DIMENSION coincides and merges with the Peekskill ArtsAlliance Open Studios.

FIFTH DIMENSION will be streamed live on the internet and subsequentlyposted online.

Brooke McGowen and Stefan Eins are curating this project. Theyrecently organized THE CUTTING EDGE, a very well-received exhibitionat 992 Main St. in Peekskill from May 20 to June 17, 2012.

Jesse Russell Brooks

Filmmaker and Video Artist, Jesse Russell Brooks of Los Angeles, California described the intersection of psychiatry and art as follows:


"I believe I have been thinking about inspiration in the wrong manner for

most of my life. When asked about inspiration in the past, I have often

claimed being inspired by an event or the actions of a person, as some sort of

divine wind has sets motion to my pen~ Though, the more sensitive I become

to this, the more I realize that "Inspiration" is about being stimulated by

something of importance rather then receiving a message from beyond.

Inspiration is my built in radar system. A special alert device that goes off


when I may dream of something important but perhaps not yet

understand. This alarm goes off when lessons of great value lay in-front of

me yet have gone unrecognized.

We are psychologically divided, into two major selfs: a conscious ego and of

course the ever so popular unconscious mind. The unconscious is often

described as the shadow of you, or "the other." In narrative, this other may

be introduced by the use of a mirror of often times spoken to or discovered in

dreams, etc. The unconscious feels to our ego like a foreign, hidden visitor

who is knocking on the door of our psyche. I am always discovering

coincidences or recognizing patterns or clues that help me discover my work.

It has been wonderful for me to think that it is this other who uses what I feel

and call inspiration to alert me to them. With each cry of this alarm I

discover a new route along my creative path. People share words, music,

story/ memories, emotion and images that introduce me to different ways to


think about my personal journeys. Is this not a beautiful idea? That the

journey we introduce one another to while living, quietly asks the deepest

and most private part of our mind questions that we have yet to

answer. When I feel inspiration, this is really my other saying 'YES! That is

what I have been trying to tell you to pay attention to. GO THAT WAY!'

Life for me may be a forever changing Rorschach test of objects, words and

sounds. Each moment during my waking life I am asked to identify what I

must reflect on.

Though some moments resonate with more energy then others, they

all contain the topics and complex ideas that I must tackle. I am always

finding solutions that I do not have words yet to explain and it is the art that

I create that helps me apply these solutions to my life. Every creative person

has designed some psychological construct to help them navigate their

creative instincts. This is mine."

-Jesse Brooks, Los Angeles Center for Digital Art


Jesse's work is discussed in a previous article in this publication

Evelin Stermitz:

Evelin is another wonderful artist that we have had the privilege of

exhibiting at our gallery.

photo credit- Evelin Stermitz


M.A., M.Phil. 1972 / Austria

{Working on media and new media art projects by using different media

like photography, video and net, including installations and

conceptual works.

The focus of art work is on gender based female and socio-cultural

topics. The issues of projects are about gender, role models and the

gap between man and woman referring to the theory of Jacques Lacan in

terms of “the Other” and the performativity of the body by Judith

Butler. An important task is the female body and the outgoing

connection to created symbolic meanings of gender in history and

nowadays. A main emphasis is on performative works.

In media theory the main interest is on the representation and

approach of the female body in everyday media and media art encouraged

by Barbara Kruger’s work “Your body is a battleground.”


Study of Pedagogics and Media Communication (1996 – 1999) at the

University Klagenfurt, Austria, completed with a master’s degree in

Philosophy on the thesis “Imagoes of Dancing Women in Film” in the

year 1999. Received a scholarship for the postgraduate study of Visual

Communication at the Academy of Fine Arts and Design, University of

Ljubljana, Slovenia, (Prof. Milan Pajk – photography, Prof. Srec o

Dragan – video and new media) in the year 2004. Graduated with a

Master of Arts degree on the thesis “The Female Body in Context of

Media Art” in the year 2007.} - from the artist's personal website

www.evelinstermitz.net


photo credit – Evelin Stermitz

Evelin was kind enough to lend her thoughts on these principles through

direct correspondence in the fascinating piece that follows.

Psychological Traces in Visual Art By Evelin Stermitz, 2013.

“Psychological theory and art finds connections and relations, since art

emerges from an individual or from groups embedded in societal structures

surrounded by given time and affects. It is possible to explain and define art

through psychological theories and models, as well as to create art through

these basic thoughts about constructing humans, life, and society.

For instance, in video pieces that I created, I am interested about relations

between man and woman as gender constructions. Helpful has been the

theory of Jacques Lacan, where the “big Other” is defined as something that

humans need to construct their identity and their self as a distanciation

figure from others, while the “big Other” is also regulative. Further the

“Objet petit a” defines missing objects of possession and power, through


creating the possessive object of desire. Since our society and in particular

gender relations are defined by who possesses the power and is in control,

the theory of the male gender possessing language, gaze, and power, with

this being phallic, explains a lot about dominant gender discourses. Of

course, further Judith Butler and Luce Irigaray, amongst others, are crucial

in an art and gender context.

A particular 3-‐channel video piece that I created deals with the three

structures of Freud’s model of personality, the “Structural Model”, which is

split in three layers of the superego, the ego, and the id. While restrictions

and patterns from controlling mechanisms (e.g. parents, society, law) put

pressure on the ego and forming the ego, the freedom is defined within the id

as the dis-‐regulative part of the personality, whereby the id and the

superego causes a permanent tension within the ego. In the video piece

“Structural Model” (2006), I further included Freud’s restrictive


psychological politics concerning oppression of women.

Personally, I find psychological theories very interesting, and so e.g. a

photographic series deals with Julia Kristeva’s theory of abjection, the

abject. As places and spaces within our humans, our society, those exist, but

are neglected and even endangering and unsettling, in-‐between existence

and nonexistence (Abject Place, 2011). I view these photographs as

metaphors for internal landscapes, elements, and traces, rather than as the

depiction of beton brut on the ground.

Or, how can we face unconscious structures, making the non-visible visible,

when not through art? Leaving traces of unspoken dialogues, within beings

and the connexion? There is as well a strong connectivity and bondage of

psychology and philosophy as an artistic practice, as Wittgenstein depicts it:

“Art is the arbitress of the unspeakable.” Further Lacan’s theory is

important for the regulation as the perspective and freedom of an artist.


While Lacan says that humans need always a form of the “big Other” to

create their regulated space of freedom, as a counter-‐opinion could be that

art should be liberated from regulative norms, aside the traditions of copy of

art history and scholars, to evolve new theory and practice on current

threads. “

-Evelin Stermitz- direct correspondence

Richard Dicarlo:

Gallerist and artist Richard Dicarlo was kind enough to weigh in on this topic

as well.


“As a visual Artist, The creation of an artwork is the extension of ones

inner conscience or as Freud's theory of psychoanalytical analysis of an

individual's personality states: id and ego. The "id" being made up of

unconscious energy that satisfies the basic urges, wants and needs and the

"ego" representing the individual's sense of pride and accomplishment for an

action. It 's the basis of creativity in general...The Artist has the initial desire

to create an artwork, a painting or sculpture...It doesn't matter, once the

Artist starts. This "initial desire" becomes a need as the piece develops into a

tangible object and the Artist will transform this object into a work of art,

once his sense of accomplishment is satisfied. It happens all the time...You

are just not aware of it. When viewing an artwork, one cannot resist the

temptation to analyze the art that is presented to them. Aesthetics, is the

first thing that comes to mind...Do I like it? or Do I not like it ? and, Why is it

so? In painting, the artist intentionally applies several elements of imagery,

color and texture to convey an intended message to the viewer and whether


or not he or she has done it successfully, reflects in its appeal towards the

audience. This is a painting of a red apple... Apples are predominantly red,

the viewer subconsciously is aware of this and the appeal of the painting in

many cases is positive. If that apple were to be blue...

The case would take on a whole new dimension with the viewer wondering if

something was wrong... Was the artist depressed? Was the artist high when

creating this altered state? ...Or was the artist insane in presenting such an

abomination of fruit-hood.

Either way, the artist had achieved what all artists seek, a reaction from the

viewer. This "reaction" has the viewer thinking, " Why did the Artist paint

this?" There is now a subconscious dialogue occurring between the artist and

the viewer. This communication is the basis of what an artist would deem,

makes a work of art, successful. It fulfills the "ego" part of the artist's

personality. In addition to the use of certain colors that denote emotion and


feeling, perspective angle of sight, thickness of line or brushstroke in a

painting will read volumes on the psychological makeup of the artist at the

time of the paintings creation and equally reflect similar symptoms to the

paintings audience in many cases. This subconscious communication can

be intentionally applied to greatly affect the audience.”

-Richard Dicarlo- President, Valley Council of the Arts

Darius Ilgevicius:


Still other artists use their medium to draw attention to the psychological

issues that others are experiencing to help address and improve the

situations of these psychologically disturbed individuals. One such work

“Film before a film” is discussed below.

"Film before a film: a period of time for a suicide victim"

Synopsis– meta-conception

Descriptive Line – suicide metaphor; meta-forms; reasons;

after-effects; the given things in Baltic countries, interjecting the

story of perspective young Estonian artist, "Laur Tiidemann", creation,

adventure and tragic death by self-immolation story as a motif for making a

solid composition; at the same moment unifying the medias of a film

documentaries and acting.

http://en.wikipedia.org/wiki/Baltic_states

Positioning, preventive satisfaction.


Significantly increasing number of suicides in Europe and in the world

(in-post soviet Baltic countries)… What kinds of processes are

happening in “post-soviet society communal sub-consciousness?

The rhetorical questions. What is the purpose of life? Where does the

worth of living lies? And the others…

More than half of questioned young people in Lithuania, approximately,

aged from 16 till 36 years old, had a thought about suicide. At least

once. Did they make it already? Will they? Maybe they are doing it

right now?!

It is a film for a film including a rhetorical question to ourselves...

about those who lost their breaths suicidally during the interface of

epochs, about young personalities...in proof of that we would be able

to feel freer to believe in our freedom...

We think that the Third World War will never begin...


but the “apparent unknown” is still asking for its tribute until now...

the starveling “monster” is asking for lives, that were not provided

during the period of time, during the moment of war deaths...

What We Need & What You Get

Dear Colleagues, i will, your opinion, choice impressing myself don't stop...

Together we can save lives of young people in this post soviet countries...

a) Documentary media, arising locations, “intervals”, covers made


using historical and art medias frames…

1. Direct suicides – sudden death.

2. Meta - forms. Abortions (as far as I know, in Lithuania the number

of them is one of the biggest according to countries scale).

“Teens”…“mothers” leaving babies in the garbage containers. Usage of

goods, things…people. The forms of chronic suicides, (the dependences)

alcoholism, narcotics, gambling, smoking, modified food products “in

usage”, manias, obsessions of being in charge and having money,

megalomania and sex-mania. (After-effects: AIDS, Hepatitis A, B, C,

Tuberculosis and others…)


Dr. Audrius V. Plioplys:

Cubit (from the Chromodynamics series)


Copyright 2012 Audrius V. Plioplys; All rights reservedpainting on canvas, 5 x 12 feet; print on paper 20 x 46 inches

Valley Peacefulness (from the Metamorphosis series)Copyright 2011 Audrius V. Plioplys; All rights reserved painting on canvas, 5 x 12 feet; print on paper 20 x 46 inches

Art of Consciousness

For 35 years, Dr. Audrius V. Plioplys has been both a professional artist and

a neurologist-neuroscientist. His art work is neo-conceptual: a metaphorical

investigation of thinking and consciousness. With 34 individual exhibits and

86 group shows, his works are displayed in museums, universities and major

art collections internationally. Plioplys has transformed the artist's studio


into a neurobiology research laboratory: he has merged neuroscience with

art.

His artistic education is entirely self-taught. Plioplys says:

“After completing My medical internship, I completely left medicine for

three years to develop my art (1976-79). When I left medicine,

I had no intention of returning. What changed my mind was

steadily growing guilt: I was not helping others with my

neurologic training. When I returned to neurology, I realized that I must

combine my artistic explorations, with my interests in cognitive processes,

an activity that has continued over 30 years.”http://www.plioplys.com/

Filmmaker LG Taylor, founder of the science collaborative

www.neuroRAPT.com recently collaborated with Plioplys in an effort to

document his work for the community at large.

http://www.neurorapt.com/

http://www.plioplys.com/


Taylor says: "Plioplys's art inspires viewers to navigate the architectural

landscape of their nervous system and ponder all of the elements that define

our humanity. Neuroscientific concepts can be challenging to absorb, but

Dr. Plioplys's artistic investigations foster a sense of wonderment and

philosophical exploration. His neursocientific art is proof that scientific

research has no boundaries and that art and science no longer have to be

mutually exclusive entities."

The video from their collaboration is viewable at:

http://youtu.be/JVYhyfZolUM

http://youtu.be/JVYhyfZolUM


Culture / Center / Memory (from the Memory series)

Copyright 2011 Audrius V. Plioplys; All rights reserved

painting on canvas, 5 x 12 feet; print on paper 20 x 46 inches

Veil (from the Cosmic Consciousness series)

Copyright 2013 Audrius V. Plioplys; All rights reserved

painting on canvas, 5 x 10 feet and 10 x 20 feet; print on paper 20 x 44 inches

Artist's Statement “For 35 years I have been both a professional artist and a neurologist-neuroscientist. My art is neo-conceptual: a metaphorical investigation of thinking and consciousness. I have transformed the artist's studio into a neurobiology research lab, merging neuroscience with art. My art works are archival-quality, digital paintings. The underlying images are based on previous photographic art works. I transform them into exotic forms, just as our memories transform visual impulses into vast neuronal web-works. Multiple layers are assembled, modified and blended. Cerebral cortical neuronal drawings, superimposed and subtracted from the surrounding color, reveal deeper layers of thoughts and


memories. My own MRI brain scans and electroencephalograms (brain waves) are interweaved. From neuronal complexity words, thoughts, and consciousness emerge. Artistically, I am fully self-taught. The seed of art was planted by a childhood friend in Toronto. During medical school at the University of Chicago, I started painting, and the passion for art grew uncontrollably. After internship, I left medicine entirely, to create art full-time. Three years later, after many exhibits and positive critical reviews, I started to feel very guilty that I was not helping others with my knowledge of neurology. I realized that I must return to medicine, and at the same time, combine my art with neuro-scientific investigations. I have had 34 individual art exhibits and participated in 86 group shows. In Chicago, my art is on permanent display at the Illinois Institute of Technology, University of Chicago, Blackstone Hotel, Rockefeller Memorial Chapel, Brookfield Zoo and Beverly Arts Center. In Minneapolis, eight of my works, including large scale ones, are on permanent display in the American Academy of Neurology headquarters, which opened a year ago. My paintings are in many museum collections internationally, and a suite of my art books are on permanent display in a modern art museum near Marseilles, France, which opened three months ago. In recognition of my work organizing the year-long Hope and Spirit program, a commemoration of the 20 million victims of Stalin's atrocities, I was designated Man of the Year for 2011 by the Balzekas Museum of Lithuanian Culture in Chicago. The previous year’s recipient was US senator from Illinois, Richard Durbin. My neurologic investigations concentrated on cognitive disorders, from autism in children, to Alzheimer's Disease in the elderly. For twenty years I worked to improve the quality of care provided to severely disabled cerebral palsy children, and reported the world's best survival rates. I have published 75 neurology articles and received $2.8 million in research grants. I retired from neurology four years ago, and am, again, engaged in art full-time. “ - Dr. Audrius V. PlioplysJuly 2013

This manuscript is not meant to tackle this subject but rather serve as a jumping


off point where ides may be shared and added to.

This article is meant to be open source. It may be altered or expanded by anyone at any time. If you would like to contribute or add to this please email me at: [email protected] and I will share access to this manuscript on my Google drive.

Current Contributors:

Russell j chartierDr. Irene CaesarEva LeeMarko LulićJesse Russell BrooksEvelin StermitzRichard DicarloDarius ilgeviciusDr. Audrius V. PlioplysLG Taylor

mailto:[email protected]

the intersection of art and psychology

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