As the mind perceives all kinds of gross natural objects and admits their images
into its consciousness, it creates for itself, out of this natural function,
a certain mode of existence which bears the stamp of finiteness. The normal life of the
soul, in other words, is kept within the limits determined by our sensory perceptions
and emotions, and as long as it is full of these, it finds it extremely difficult to
perceive the existence of spiritual forms and things divine. The problem, therefore, is to
find a way of helping the soul to perceive more than the forms of nature, without its
becoming blinded and overwhelmed by the divine light, and the solution is suggested by
the old adage "whoever is full of himself has no room for God." All that which occupies
the natural self of man must either be made to disappear or must be tranformed in such
a way as to render it transparent for the inner spiritual reality, whose contours will
then become perceptible through the customary shell of natural things.
- Gershom Scholem, Major Trends in Jewish Mysticism,
"Abulafia and the Doctrine of Prophetic Kabbalism"
The paintings of Giorgio de Chirico... The way emotions are enclosed in eyeless statue,
confined, limited and lonely perspectives of symbol, isolated location, that poetry... And the
Komuso of Japan...
Living in New York City, how the eyes become saturated with advertisement, font, observance of
attention-identification disorder with people in subway, street, venue — how as an artist-performer-improviser
we must regularly exercise our "centeredness," our own pace and expressive/projected individuality — how this city is
a perfect arena within which to train, expand and connect ones creative self with a love for life and its inevitable history
through the rich balance of public, private and social circumstances.
But it was not long after this experiment that I searched for vintage safety glasses and goggles on the web
and was introduced to a whole new/old world of eyewear craftsmanship to bring to life... The lenses - the color
and visual quality is the same as it was 100 years ago. When I first get these things in the mail and put them on,
it's like travelling throught time. A connection to the past visually which can
be so affecting. And in this day and age with technology changing so often, supposedly “improving,” it is crucial
I feel to stay grounded in the ways of old, just as artists speak of constantly studying the masters - those vital links
and affinities to the past - inevitably finding one’s own personal creative path through history… So, a
new stretch for perception these days here, like listening to an old
wax cylinder player - hearing things as they did back then... I also
had an optometrist across the street make me dark prescription
lenses which are interchangeable with vintage goggle designs by the American company Willson, circa early-mid 1900s.
A joy to share all this with friends and the people I happen to run into around town when I've got a pair on!
But okay, since you've gotten this far, I may as well now present to you: OUTSTEIN
So it began by painting safety glasses, surrenduring to this curiosity I had for meditation. Enclosing the vision in
solid color, depriving the eyes of much of anything to attach to —
there is some periphery, and some reflection of the shining eyes themselves, but for the most part it is a
chance to give things a rest.
How the soul longs for it! Slowing down the thoughts...
Needing to do something for the vision and relationship to body, setting the stage for practice, improvisation, creative work...
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