ARIEL HASSAN - ARCHIVES

The purpose for a pentgrammaton to name this series of works is to compact the essence of a unit as part of, and container for its entirety. The idea of an alphabetical consonantal framework that obscure the meaning of the full phrase serves to emphasise the same degree of occultism -a deeper truth that exists beneath the surface- that the series proposes. The TBMKF works are representations of a paradoxical circuit, continuum and fluid forces -e.g. from life to death and so forth- and once the title is deciphered it reads “the blood must keep flowing”, referring to blood as a signifier of life and body, therefore us as part of a perennial universe, still with the fragility of our physical finiteness.
The three triptychs that form the series follow an indistinct linearity in three movements: The Perennial [mov. I], Beware the friendly stranger [mov. II], and A visit to the happy downside world [mov. III]. The triad of triptychs form a three-step process of thesis, antithesis and synthesis. In a sense a presentation of an infinitum in the first work, causes the presentation of the threat of finiteness an rational in the second work, giving lead to the last work where the assumption is that extremes exists within a dialectic of the danger of life against the pleasure that can be attained from the threat it self.
The genesis of the works are small accidental paint spills (approx. 3 cm square) on glass plates that are isolated, digitally enhanced and reproduced in detail into large canvases following a division of the space in two triangles - one upward, one downward; the pseudo-scientific procedure delivers abstract images from where formal elements can be decipher. As part of the making process other paradoxes are triggered, maintaining constant physical oppositions such as the original size of the image compared to the final scale of the reproduction, or the impossibility to read at once the detail and the complete painting.