TimeXposure
Artist's
Statement
Dorothy
Simpson
Krause
See
Dot's lenticular
posters at
the
Digital
Atelier® store.
As
I
began
this
body
of
work,
I
had
an
opportunity
to
photograph
the
early
megalithic
sites
of
Stonehenge
and
Avebury
and
consider
how
they
were
used
for
political,
religious
and
social
ceremony.
Although
originally
a
distillation
of
content
comprehensive
to
an
entire
community,
there
is
no
longer
cultural
consensus
regarding
the
meaning
of
these
structures
or
the
inherently
abstract
symbols
they
portray,
such
as
the
circle,
spiral
and
labyrinth. "Symbols,
energy-inducing
placement
and
celestial
orientations
well-known
to
prehistoric
'artists'
have
become
abstract
to
us
in
the
broadest
and
emptiest
sense."1.
Their
powerful
presence
is
undeniable,
but
their
basic
connection
to
human
identity
is
lost.
Although
we now
have
considerably
more
empirical
knowledge
than
at any
other
point
in history,
we understand
little
more
of the
mysteries
of life
and
death,
time
and
space
than
our
prehistoric
ancestors
did.
Our
art
comes
not
from
shared
experience
or common
comprehension,
but
is unique
and
idiosyncratic,
an expression
of the
individual.
We yearn
for
connection,
but
we are
essentially
alone.
This
series
of
work
focuses
on
how
we
explore
the
unknown
and
master
our
fears.
It
incorporates
symbols,
plans
for
computing
devices,
molecular
drawings,
celestial
maps,
astrological
charts
and
photographs
of
places
of
power.
Although
technology
is
accused
of
being "dehumanizing",
it
is
the
medium
through
which
I
attempt
to
express
these
most
human
of
needs.
The
ability
to
dissect
disparate
views
of
reality
and
interlace
them
into
a
cohesive
representation
of
a
new
vision.
is
empowering.
These
densely
layered
lenticular
images
are
my
way
of
attempting
to
understand
and
express
the
forces
which
impact
our
lives.
They
celebrate
the
individual's
search
for
meaning
in
a
largely
incomprehensible
universe.
Dorothy
Simpson
Krause
Boston,
Massachusetts
December,
1999
Dorothy
Simpson
Krause
at www.dotkrause.com
1.
Lippard,
Lucy
R.,
Overlay:
Contemporary
Art
and
the
Art
of
Prehistory.
New
York:
The
New
Press,
1983,
p
11.
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