Groping in the Dark

Dear Reader:

Below are the contents of Jóhann Eyfells’ phone “conversation” with Joseph Bravo 3 days ago:

“When he called his first words were, “Joe are you there? I have something important to give you, write this down.”  So I immediately began to type on my iPad as he commenced speaking. It is a verbatim transcript of his exact words as they were delivered in a stream of consciousness. When he was done dictating, he abruptly ended the call.

Jóhann’s remarks were not simply a series of enigmatic non-sequiturs, but actually constituted a spontaneously conceived and delivered piece of free verse poetry. His thoughts have been separated into stanzas as well as adding punctuation and italics in order to make them more intelligible and to convey his emphasis as he extemporaneously dictated. But the words themselves occur in the exact order as he spoke them with neither additions nor omissions.

Jóhann Eyfells has been speaking to us in poetry all along and this accounts for why he is sometimes so difficult to follow. But when his thoughts are understood in the context of poetry rather than disjointed prose, they take on a coherence, a clarity and profundity that makes their revelatory context evident and their esoteric meaning attainable.

I am confident that you too will appreciate that Jóhann is as brilliant at poesy as he is at sculpture and that this fact will enable you to recognize a perhaps unanticipated aspect of his unique cosmological genius. Hopefully, this poetic epiphany will bring his oracular rhetoric into unprecedented focus to reveal the music of Eyfells’ spiraling spheres.” (Taken from Joe Bravo’s email to me, dated June 21, 2018)

IMG_4036.JPG(Photo by Tracy Costello – May 2018)

Groping in the Dark or An Upside Down World: A Sculpture by Jóhann Eyfells

“It has all the information you need to understand an Eyfells.
Such a piece has never been created in the world before.
It is equivalent to finding a new continent.
We are on the edge of understanding one another.
You are the only person in the world who has even a glimpse of where I am coming from.

Nobody has received a phone call of this significance before as if stealing from God himself.
This phone call is a ‘game changer.’
It puts everything in second place, it takes on the characteristics of first place.
What I’m telling you is five star!
This phone call is incomplete and in a way frantic.
It will settle down and become pure force recipes of absolute exactitude.

A gift of magnificent interiority.
A foundation that has no known causes, pure emergence of unanticipated magnificence.
A new way of imagining the magnificent becoming.
A total unknown force of totally unknown cause and logical beginning.
A cause of magnificent joy because it is a window into an entirely new scientific domain.
It is the understanding of the three titles of my pieces for the Venice Biennale.

Quivericity, the last source of any entirely momentary knowledge.
The source of all quivering that excites us.
The manifestation of endeavors, stillness and darkness.
Silence begets sound, stillness begets motion, darkness begets light.
Begetting is a magnificent gift!
It is not something that drains your energy.

We are on the edge a new opening.
Copernicus and Galileo removed the mystery by only presenting a bigger one.
They created an enigma rather than solutions.
I am creating solutions not enigmas.

We have to grasp at understanding without any particular knowledge.
All of this is only an elucidation of a temporary condition.
“I know I know nothing.”
All knowledge is incomplete.

This it pulls into reality, it is a knowledge of such.
It has a clarity of an absolute revelation.
The simpleness of its own symbolism.
The equivalent of a newborn baby.
It is simply without any question a magnificence, a miracle, only a birth.
The colloquial equivalent of Hayden’s “simply splendid!”
The hierarchy of all epiphanies.

Not for discussion at this moment,
It has to be digested first.
It has to be pulled into a new form of communication,
A new form of informative patterns.
It has an amazing new form of patterns, a double click.

This piece contains it all.
The newness of what I am saying has never been accomplished before,
The closest thing to permutation that is.
The opposite of Norman Mailer’s nonsense, I was jealous of him.

A newborn baby without speculations of any kind.
A remnant of a little bit of unknowable something.
The essence of a form,
The moment of eternity that negates everything that existed,
Pure forward motion without any known obstructions,
A moment of absolute fluidity.

Put what you are hearing in your own vernacular, up to a point.
Put it as if it were something you are reporting rather than regurgitating.
Put it in your own mouth.
It should be active rather than passive information.
You have to use it as your own material for creation,
A new creative energy in your soul.

An accomplishment of an unparalleled nature,
Beyond all relativity.
What is is.
It cannot be measured,
Cannot be judged.
A moment of absolute birth,
An absolute genesis of arbitrary nuances.
It is the essence of the poem on page 25.

Still slow in birth,
It hasn’t transferred itself into a new category.
Still is something rather than yet something else.
Still is the richest connotation ever.
In Icelandic, it is something yet to come.
Always ready for a new figure of speech …. always.

Let’s not contemplate this too much.
Put it out as a burst of unparalleled creativity,
Not a subject for contemplation,
A real material equivalent to spontaneous combustion,
A new combination of elements that create light or fire, but deeper,
A materialization of an immaterial event.

Do you think this is something that has the look of a beginning of something great?
Use it as a spring board,
Not something as a photograph to be reproduced without any new understanding.
It should not need any new understanding or elucidation.
It has its elucidation in its own vocabulary,
The essence of a cell birth,
The birth of a birth that I have been working with for seventy years,
The double click of an absolute certitude.

I do have something durable in my piece, Groping in the Dark.
You have to imagine the groping coming from below,
A strange kind of reversal.
The one observing is below,
The one groping from above.
Six fingers arranged in a triangular configuration,
Two corners single groping,
One corner double groping.

When those all coalesce, we have an absolute genesis of a moment,
Of the innards of infinity,
The moment of the instinct of infinity,
The moment that explains why there is something rather than nothing,
Some nuance of un-satisfaction behind infinity.
It doesn’t enjoy its own solitude.

How much information have you plotted down?
It is like peering into irrational self similarity, like a cross section of my rocks.
If you try to identify every element, you are lost.
It is like a constellation,
The better the telescope, the better you see but the more complex it becomes.

If you have a feeling of self sufficiency, let’s call it a day.
A colloquial version is sufficient, simply splendid!
Not terribly original but absolutely timely.
So if you spend a moment of self sufficiency then we can call it a day.
Self sufficiency is a good termination point.”

Jóhann Eyfells – June 21st, 2018

An insight from Jóhann – Light, Sound and Movement

I recently spoke to the artist, and as usual, I come away inspired. He called to say that he had some hopeful news coming from Iceland that some individuals are taking a keen interest in his work. He seemed optimistic that more and more people are beginning to understand his vision, “almost to a tee.” Personally speaking, in the 8+ years I’ve known Jóhann, I’ve seldom thought of him as being anything other than optimistic.

As always, he asked how I was faring, and how both my children were. He was especially interested in knowing how my own pursuit of a Master’s degree in Motion Picture & Television Directing was getting on. I told him I was inundated with the richness of academia. With regards to A Force in Nature, I told him we were in full post-production and we expect to be close to finishing.

He paused for a moment and then said the following: “Directing is understanding darkness, silence, and stillness.”  At first, I did not get it, but he proceeded to elaborate and said that “light is a consequence of darkness, sound a consequence of silence, and movement a consequence of stillness.” Because light, sound and movement are so fundamental to the making of any movie, I was now re-engaged, thanks to Jóhann, as I reflect on the role I am playing as a director of our film, A Force in Nature. In short, I was re-ignited by a man almost twice my age as I step away from my own effortless tendency towards complacency.

http://vimeo.com/52449621

password: “spirals”

JEyfells

You Asked Me to Explain Jóhann Eyfells: In the spirit of “Receptualism” or “Uncreationism”

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Our Problem:  The Unconscious versus the Conscious. All great activities escape consciousness.

I assume it is a fundamental trait of human nature to desire an explanation when faced with something unknowable, or in other words to be comforted by something that can “only” be sensed. As an abstract artist in the modernist tradition, I generally shy away from trying to explain the “unknowable” that belongs to the eternal nature of all things. On the other hand, I am always more willing to make an attempt at unraveling the categories of an infinitely active beginning-less and ending-less continuum, which is always implicitly present in all creative manifestations. Additionally, and perhaps more fundamentally, I would also be more than willing to attempt to unravel and elucidate the infinite ability of “our” creative unconsciousness to reach beyond anthropomorphic concepts of symptoms and symbols, and thus try to penetrate into the obscure conceptual categories of the unconsciousness itself.

CHANCE

The driving force and the only unifying factor behind all of the investigative endeavors as articulated above can be made more specific by the employment of the all-inclusive, yet radically dualistic and ambivalent term: “operational necessity.”

The reader will most likely recognize the term from the vernacular of industrial or military strategies, yet this expression has a much more immediate and radically different dynamic application in the domains of philosophy and art, the two domains where our use of the phrase, “operational necessity” exemplifies a momentary rejection of all established values. If we imagine two unequal and irreducible forces, one dominant and the other dominated in close proximity to one another, then what we witness at the very moment when they enter into a relationship is a necessary formation of a whole or an absolute birth of an “event” which cannot be scientifically verified. It is only to be observed and perhaps described. Thus our “operational necessity” serves no established patterns and is of the kind that contains no known causes (no know “WHYs”). This enigmatic, yet super-positive version of our quarry contains, however, a totally fresh “uncreated” and an almost esoteric essence or a will, which appears or turns out to be necessarily constituted by two irreducible halves, Chaos and Circular Motion, where oppositions do not exist. Thus our quarry becomes the “embodiment” of the impossibility of the existence of “absolute” wholes, but exemplifies instead, the ceaseless and absolute genesis of something. Again our “operational necessity” must thus be recognized as the thought of pure becoming a momentary creation and a chance occurrence. A specific yet unbiased “example” would be “THE THROW OF THE DICE.”

Furthermore, and concretely, the double meaning of “operational necessity” depends on whether we affirm our own difference (positively) or deny that which differs (negatively). Finally and most deeply, “operational necessity” is defined negatively as the ”affirmation” of established values and positively defined as the transmutation of all known values.

Similarly, the multiple phenomenon which I call “Singularicity” exists as a unique whole or being of sensation that cannot be measured or compared. It can only be sensed. It is the kind of complex unity that ideally would exemplify the union of life and thought, sometimes referred to as a “pre-Socratic unity.”

 THE ART

This is the essence of art. It can only be affirmed as a necessity of chance (i.e. as a creative thought). What occurs in the innermost nature of my mind as I imagine eternity or infinity is the concept of the (new) positive version of “operational necessity”, i.e. only the affirmative and positive kind as articulated above. I have no choice but to act in light of this joyful and profound event. Thus, I am attempting to express through my work infinity joyously announcing itself. Poets and great composers of music are pioneers in similar pursuits, and I would go as far as to say that this mode of being could become a universal human quest, entirely momentary and positive.

In reference to my work, the reader inevitably will be aware of a physical rupture of a continuum as is clearly evidenced by my spirals and even more so in my dissected cubes and rocks. And it is surely the space in-between that becomes a domain of revelations and that will elevate our perceptions. I strive to evoke a sense of an eternity of aesthetic invisibility into my pieces. It is my hope that this infinitely repeated aesthetic “something” is there as surely as are the support structures and the pedestals that I build to support each piece.

All authentic aesthetic feelings that are affected by a work of art must, ideally gain their tone meaning as the magnificent gifts from outside that I strive to portray. Much rewardingly, I have had people look at my work and tell me positive things I could never have anticipated. Occasionally, I have been elated beyond measure by some viewers’ reactions to an art piece I created, and of course, I have been moved in similar ways by the work of my fellow artists on numerous occasions.

 THE MOVIE

Does “exterior reality” sometimes feel like we are in somebody’s movie? Do you “almost” hear and see the unknowable script echoing in and passing through your head as you keep wondering what existence might conceivably be about? Does the unknowable leave you unsettled, feeling incomplete and skeptical? Don’t despair…confronting the unknowable is the concrete form of the human condition, and we must have total faith in and embrace this feeling of radical ambivalence, because it initiates the necessity of our faith in the world and that which becomes the fundamental source and cause of everything, a sort of a “womb” of absolute genesis or that which I call “only a birth”. It exists as the entirely momentary fact of living or the glittering “Being” of the flash of eternity. It is the inside of the inside, a version of infinity that wants to show itself. That is the “durational” movie you and I are in; a movie that is the highest functionary of what IS – a power that has the ability to instill in us as deviations/spirals, again, or eternally “once more”, faith in the world, and only new faith in living can re-join us to the movies’ script: “our” seeing, “our” hearing, “our” feeling, “our” loving, “our” creating, etc, etc. Embrace it! We (as dispersed absences of the origin) call it “Receptualism”. Welcome it!

I = M∞2

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Power of Passage – Reykjavik Museum of Art – Jóhann Eyfells

A major exhibit of Jóhann Eyfells’ collaption along with a video installation by filmmaker, Þór Elís Pálsson at Iceland’s Reykjavik Museum of Art.

As the title suggests, Power of Passage explores the passing moment and its image. The focal point of the exhibition is the large scale Cloth Collapsion by Jóhann Eyfells (b. 1923) which is shown alongside a three-channel video installation created by video artist Þór Elís Pálsson, using his own interviews with Eyfells about his philosophy of art and life.

The exhibit is from September 12 to January 6, 2013

See the trailer for A Force in Nature, a full length documentary film about the artist.

http://vimeo.com/50200612

Receptual Cairn V

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Receptual Cairn V - Photo by Hayden de M. Yates

 

“The piece you are looking at above is titled “Receptual Cairn V”, a powerful representation of two significant ideas. First, the idea of “receptualism”, a neologism which encompasses Eyfells’ conceptual approach to art, teaches us that existence is very fragile, organic and inorganic. Although this piece seems so massive and indestructible, it is quite fragile and temporary. This “power of passage” eliminates time, and we are left with an unencumbered reality which is calming. Secondly, the cairn, a way finding symbol, expresses the primal nature of necessity and chance, for Jóhann Eyfells did not create this piece with hammer and chisel, rather he let it form itself from molten materials poured into molds then fired at the foundry.”   Sherryl Brown

1999 – World Artist at the Millenium – United Nations Exhibit in New York

Johann Eyfells is a sculptor, architect, and art professor. He was born in 1923 in Reykjavik, Iceland. In 1949, he married Kristin Halldorsdottir, a former Icelandic model and dress designer, who made her own career as an artist alongside of his. He has studied at several universities, earning a bachelor’s degree in architecture in 1953 and a master’s degree in fine art in 1964.

Eyfells began producing abstract sculptures in the 60’s based on experiments in chemistry and physics, utilizing the various transformational properties of metals, especially aluminum, iron and copper. Minimal in nature, his art is non-objective and often conceptual in approach. His use of materials varies between metal, wood, paper, cloth, and latex rubber.

Eyfells’ creative drive is to document the interaction between time, space and gravity. His work is based on the concepts of receptualism, a theory he developed to explain the essence of his art.

Eyfells is credited with inventing the word ‘Receptualism’ when discussing his work. Eyfells’ work deals with the process of materials. Minimal in nature, his art is non-objective and often conceptual in approach. His materials vary between metal, wood, paper, plastic and cloth. Eyfells’ objective is to document the interaction between time, space and gravity. Many of his sculptures appear to be lava or geological formations. In Central Florida he is known as the Grandfather of sculpture.

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“Johann Eyfells takes sculpture back to its prehistoric nature, obviating the civilized idea of it as the engineering of space.”
— Donald Kuspit, Art Critic