Art Coma

I am in a coma, it crept up on me ten years ago, its not your typical coma, I am physically in the world, able to speak and be present but not be heard or seen accept by a few individuals. So where am I? It’s the place where Ron Muek’s ‘Dead Dad’s’ ghost resides, Damien Hurst’s shark’s and cow’s ghosts roam, it’s where the Chromophobia of David Batchelor and Jane Prophet’s saturated colourful lighting systems give play to a matrix of possibility, it’s the place of the ‘Spirit of Creation’. You see, this to me is where life appeared to be, as looking at death and dead animals, was very ‘dead’. However, I am in a state of ‘bardo’, between two worlds of thought and vision. I am hoping it is possible for me to communicate back to you from beyond the ‘Veil’.

I became aware that one’s own genesis, own evolution within art, could be emphasised far too much by the validation of others; by art schools, critics, gallerists, buyers, curators, other artists. Do their opinions define value to who you are in yourself? In fact if we look at Creation and the sheer value of Creation, don’t we need to be begin, in understanding the value of creativity, by acknowledging the main art work produced in alignment with universal consciousness, the Earth, the Universe. Isn’t that the most phenomenally conscious aspect of Creation we are all apart of? Therefore what is it ‘to be’ in the world, what is the catalyst of having awakened senses; an ability to perceive, to create, to be a conscious artist.

Step in to your power and in fact its you as an individual that is the art work, every human being is designed through co-creation ‘to be’ a valuable part of the process of evolution, the world is perfectly in order, unravelling. Slowly revealing its hidden agendas as exposure leads us through the process of development.

However, what makes a person excel in ‘their’ design to become truly unique, phenomenal, head and shoulders above the rest, as a ‘valuable product of Creation’? Then in their productivity, self expression as ‘an artwork’, what are they putting out in to the world as a by product, as a piece of ‘art’? How does that work reflect their inner world, their state of consciousness, their values and belief systems, how do we add to the creativity of Creation? Do we need to re-evaluate the definition of an artist and the value of an artwork? Have you embraced the energy psychology of the multi facets of consciousness? Should art world people blindly move forward on a head level fully allowing the security of the ‘art world’ and ‘micro cultures’ to take care of their needs?

I have always been a truth seeker, at the age of 21, I was in a position to align with my inner truth. I went through a very serious illness that made me bed ridden for a year, I was determined to get better, I decided to find the true nature of illness and truth in life. A year on, I had an awakening, similar to going through the philosophical process of radical doubt, the cave experience as described by Socrates and Plato and I got better, it was the year of Saatchi, Sensation’s exhibition. My ability to ‘perceive’ accelerated and I was able to be clairvoyant, bring forward visions and work with energy psychology, I was really excited about being an artist and bringing my new talents to the art world having fully found myself, I felt fully connected to the universe.

I spent days in the library trying to bring context to my perception, I went to see Alain De Botton and Dr Simon Glendinning, at their homes. I tried to bring context to the psychology of artistic expression, philosophy and the language of an ‘artwork’. A debate I found hard to ‘academically’ communicate, as the connection of philosophy, psychology and art didn’t always seem to be fully embraced by the ‘Art world’. I therefore ended up walking a different path to the ‘normal’ artist’s path and fully engaged in working with God’s Creation. I worked with people, as a Psychic Healer and a Creative Consultant in Communications with my visions and energy psychology. My world opened up in to film, healing, performance, marketing, advertising, song writing, audio visual manners of communication. I became at ‘Source’, an ‘Independent artist’.

Years later, I became clear that the Welcome Trust, Euston, London seemed to be the only gallery space that fully demonstrated the importance of all components of philosophy, science, psychology and art on a professional level in relation to ‘Contemporary Art’. Philosophy motivates science, art provides theoretic debate to ‘Life’. Science is life, but philosophy is needed because of ‘unconscious science’, or the area of science in which there is no evidence or understanding. Therefore philosophy is needed in art because of ‘unconscious art’, or the area of art in which there is a space for debate untouched by the evolution of Science but with awareness to ‘Life’, but is art alive? Doesn’t embracing philosophy and psychology give true purpose to artists that are able to exist in a place that is profound, based on their truth? At least it expresses a need for philosophical truth, for art to move forward we have to acknowledge these components.

Art has its own language and psychology, it needs space to live with its own debate, but how many artists are living an illusion? Not fully owning their own inner ‘Godhead’ and their own truth, becoming brand names and by-products connecting to the market for emotive reasons, finding it hard to engage with any sense of profound discourse, limited by the fashion trends of media and being validated by the consciousness of art schools, gallerists, critics and dealers. An artist has to put his or her own value to them self to be able to feel secure enough to go beyond the limits of their own mind and the art world, you have to believe in yourself. Are you limiting a limitless phenomenal aspect of yourself and others? Philosophically, we are infinite, eternal beings, our ability to create exists to a level of profoundness adjacent to the Universe, what would it take for the art world to step up, and embrace the true power of Creation? –

Amanda  McGregor 5/1/2011 


Dead Dad (1996–97), silicone, acrylic paint and human hair – a 2/3rds-life-sized sculpture of Mueck’s father lying on his back, naked. (Stefan T. Edlis Collection, Chicago).

Related Posts

Art Bahrain Across Borders aims to bridge Bahrain to the global art market whilst promoting the development of local Bahraini artists.
Get inside London's most infamous arts club - Tales from The Colony
Rainsongs, the new book by Sue Hubbard, out now
Open Source Salon with Hauser and Wirth - A new monthly discussion group
Advertise your next show on Artlyst from £200 per week