Dream Piece A2

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A highly coterminous recreation from an ongoing series originally envisioned during recurring REM dreams of the artist. Psychoanalysts believe dreams are the manifestations of our deepest desires and fears. They are the direct expression of imagination and utilize the most efficient language of symbolism and visual arts.

This work explores the psychological and spiritual vitality of art vicariously through the artist's dreams, acting as 'Portals' or 'Annexes' into the spiritual matrix. It is the intersectional plane between the physical and metaphysical world, and plays with the new fixities of identity politics, binary and transcendence, contradiction and paradox, known and unknown.

There is a very strong connection between the use of symmetry in Aboriginal art and the powerful commitment to the balance of reciprocity, exchange, and equality in these works. Aboriginal art builds on the ceremonial practices of its ancestors — each painting often being residuals of cosmological rituals passed down from each generation against global forces of cultural, commercial, and identity assimilation. Similar forms of art in Africa and the rest of the world such as in 'Dreamtime Painting' seem to thrive on its contradictions. Although it is often dismissed by the narrow-mindedness of North-American rationalism as a pidgin language, its mixing of Indigenous idioms and foreign materials is what makes it unique. It is also engaged in different depictions of the primitive object, such as the fetish and the gift, which often juxtaposes itself with "modern" objects. In some sense the subversive hybrid of these things are symbolic portraits of a similarly disruptive kind of complex new identity. These "Dream Pieces" remain authentic in its own terms even as it plays on the desire for "the authentic" or "outsider."