HERACLITUS (535-475 BC.)
Everything flows and nothing abides
Everything gives way and nothing stays fixed
Around 1970, in the southern California landscape, while drawing in my sketchbook, I found myself considering a deeper essence or insight arising from my immediate surrounding. My insight was seemingly connected to subconscious and intuitive sources and provided me a key to a more profound involvement with my environment, one I had been in search of for some years.
Selecting the title Flow Inversion to name this insight, I considered the title a poetic metaphor for a process, which seeks to make visible an instantaneous moment, one that documents the search for a truth of some gravity in experiential reality. Each Flow Inversion painting seeks to represent that same moment of truth revisited.
The Flow Inversion metaphor applied to the process of painting puts into visual form the simultaneous presence of two contradicting, mutually inhibiting and opposing properties of matter (or antimatter): that of position or location, and that of velocity or movement. Either of these two attributes must be perceived and measured individually due to the inability to perceive but one attribute at any given moment, canceling the perception of the other attribute. (If matter is moving at a given velocity, it cannot have position or location.)
However, the Flow Inversion paintings seek to represent these two irreconcilable attributes of matter by simultaneously assigning to the visual architecture of the paintings both attributes as two distinct fields. One field ascribes the attribute of location or position in each of twelve scalloped elliptical shapes. The other field, represented by randomly assigned diagonally oriented (upper right to lower left) fragmented shapes addresses movement or velocity. The coincidence of these two visual fields creates a collision, one field camouflaging the other in various areas within a given work. Inversion refers to the reversal of the usual or natural order of things and in this case refers to the perception of such.
My endeavor to render an instantaneous moment in search of a truth of experiential reality results in a condition of disappearing and re-appearing visual elements, much as wave crests appear and disappear
in an ocean.
I have produced the Flow Inversion series of work as a testimonial hint of the powerful delusion of our perception of matter.
--Judith Von Euer, Reflection
January 2, 2000
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