Inceptual Art

Here you will find works that best defined the notion of inception. Any piece that remains ongoing will be catalogued here otherwise it falls within the Extant Art section.

I emphasis somewhat didactically the idea of “Inceptual Art” as term is defined as the birth of the art idea. It is outside the sphere of conception as it has begun to form as it lives. An incepted work is one that is in progress or in various stages of development. As “Inceptual Art” implies here a living work the section will hold content as long as works are maintained or an ongoing. Once the work fails to fit the criteria or transmutes into a passive mode it simply exists and moves away from inception into Extant Art. In some cases the work may even be destroyed or decaying just like any creative form and so it still exists as an archive.

 

Inception Contributions to Düd Rientjes

Written by Patrick Chevalier. Posted in Inceptual Art

Un Clogg the Örange : Witnessing Specific Sight Art – Düd Reintjes 2010-2015+ As interpreted by Patrick Chevalier

Supporting media - The Internet principally Facebook, Google+, Twitter or Instagram Feeds
Media contributions by Patrick Chevalier (Samsung III, Nikon DS5100) & Erich Entner: iPhone G5 ?

It is important for me to begin by describing the works I contributed to the exhibit of “My Örange Cloggs – recent thoughts by Düd Reintjes” (1993) and “My Other Örange Cloggs – Introspection by Düd Reintjes” (1994) as thy helped conceive new offshoot projects in progress today. For instance “The Nature of Multiplicity” (N.o.M), was derived from “Peripharal Vision Art” - Düd Reintjes (Patrick Chevalier and Allan Sutt) while N.o.M’s elements influenced the making of “The Human Shrine.” another work of mine that is presently in inception.

After nearly a 10 years hiatus I resumed my contributions to Reintjes’ works in 2013 as a means to re-discover the liberating process of the thematic. Keeping Düd alive in all his cynical, castigating and mercurial grandeur provides me with the ability to create playfully and imparts sense to artistic creation. What is more I can appreciate as a creator while remaining healthily skeptical and humble about my contribution art creation as a whole which to me is super important.

My present inception for Düd Reindtjes works extend the theme “Specific Sight Art” shown at the “My Other Örange Cloggs” (1994). Where “Specific Sight Art” was framed in a particular space (using the precepts of installation) the extension embraces the prevalent photoenigmatic zeitgeist encouraged by social networking tools. The images are not only considered representations of the artists sight but are proxies of the artist’s actual vision what is seen and framed. It is subversive dissenting art spoofing the trinity of in-situ (site specific), installation and documentation photography. “Kunstzinnige stiershisse exquis!” Exquisite artful bullhooey as Düd may have put it.

Another invaluable reason behind reviving Reintjes was a desire to reconnect with as the original collaborators of the project. In is therefore important to note that this inception of the work remains collaborative as there have been active participation but other members providing their own interpretation of the artists work.

A page remains accessible to these contributors in Facebook named Düd Reintjes (Artist) (https://www.facebook.com/DudReinjes/?ref=hl) where the Düd Reintdjes works are exposed with posting credits given to each collaborators on Facebook the use of various alias of Reintjes also provides a glimpse and scope of the ongoing project and provides the opportunity for enigmatic Düdesque visions to be shared publicly and organically. Searching any of these hashtags will yield at least some positive results for Reintjes works: #düdereinjus, #dudreinjes, #düdreinjes, #düdreindjes, #dudreinjes from Erich Entner, myself (Patrick Chevalier) or Allan Sutt and perhaps more contributors.

My personal goal as contributor is to use keep using this artist identity as a wellhead of mass conception using a collaborative and integrative approach of creating art with free spirited  humour and. More works incepted by Düd Reintjes will be posted as such in the future.

Peripheral Vision Art (1994)

Written by Patrick Chevalier. Posted in Inceptual Art

Un Clogg the Örange : Witnessing Specific Sight Art – Düd Reintjes 2010-2015+ As interpreted by Patrick Chevalier

Supporting media - The Internet principally Facebook, Google+, Twitter or Instagram Feeds
Media contributions by Patrick Chevalier (Samsung III, Nikon DS5100) & Erich Entner: iPhone G5 ?

It is important for me to begin by describing the works I contributed to the exhibit of “My Örange Cloggs – recent thoughts by Düd Reintjes” (1993) and “My Other Örange Cloggs – Introspection by Düd Reintjes” (1994) as thy helped conceive new offshoot projects in progress today. For instance “The Nature of Multiplicity” (N.o.M), was derived from “Peripharal Vision Art” - Düd Reintjes (Patrick Chevalier and Allan Sutt) while N.o.M’s elements influenced the making of “The Human Shrine.” another work of mine that is presently in inception.

After nearly a 10 years hiatus I resumed my contributions to Reintjes’ works in 2013 as a means to re-discover the liberating process of the thematic. Keeping Düd alive in all his cynical, castigating and mercurial grandeur provides me with the ability to create playfully and imparts sense to artistic creation. What is more I can appreciate as a creator while remaining healthily skeptical and humble about my contribution art creation as a whole which to me is super important.

My present inception for Düd Reindtjes works extend the theme “Specific Sight Art” shown at the “My Other Örange Cloggs” (1994). Where “Specific Sight Art” was framed in a particular space (using the precepts of installation) the extension embraces the prevalent photoenigmatic zeitgeist encouraged by social networking tools. The images are not only considered representations of the artists sight but are proxies of the artist’s actual vision what is seen and framed. It is subversive dissenting art spoofing the trinity of in-situ (site specific), installation and documentation photography. “Kunstzinnige stiershisse exquis!” Exquisite artful bullhooey as Düd may have put it.

Another invaluable reason behind reviving Reintjes was a desire to reconnect with as the original collaborators of the project. In is therefore important to note that this inception of the work remains collaborative as there have been active participation but other members providing their own interpretation of the artists work.

A page remains accessible to these contributors in Facebook named Düd Reintjes (Artist) (https://www.facebook.com/DudReinjes/?ref=hl) where the Düd Reintdjes works are exposed with posting credits given to each collaborators on Facebook the use of various alias of Reintjes also provides a glimpse and scope of the ongoing project and provides the opportunity for enigmatic Düdesque visions to be shared publicly and organically. Searching any of these hashtags will yield at least some positive results for Reintjes works: #düdereinjus, #dudreinjes, #düdreinjes, #düdreindjes, #dudreinjes from Erich Entner, myself (Patrick Chevalier) or Allan Sutt and perhaps more contributors.

My personal goal as contributor is to use keep using this artist identity as a wellhead of mass conception using a collaborative and integrative approach of creating art with free spirited  humour and. More works incepted by Düd Reintjes will be posted as such in the future.

The Nature of Multiplicity Incepted

Written by Patrick Chevalier. Posted in Inceptual Art

The life of the work will be determined by time and the response to the works inherent message.

N.o.M. is an ambitious work in scale and meaning as it is one that I wish could remain in the state of inception indefinitely. Indeed, considering that it has taken me close to 10 years to create 5000 pieces I have succinctly proven this point to myself and yet it behooves me to accelerate the pace of production so I may share it with you.

This first push of inception of the Nature of Multiplicity produced an extnat series of more than 4500 individual works of art. Each work measures 1 15/16" x 7/8" and each individual piece treated as an element of a greater work. N.o.M is therefore a large work in composed of elements carefully manipulated selected and recorded. Each piece is created from mixed supports grounds and mediums in order to impart as much variety or multiplicity as possible in for the pictorial affect, the local values and its larger pictorial identity. When exposed in its entirety the work is exhibited on a large support forming a grid patters creating a what can be considered a damp colour field. The initial dimension of this personal work is approximately 51 8402 inches or a surface and so 45' (13.716 m) wide x 8' (2.438 m) high as it readies for official exposition. More than 10 000 elements must be produce to cover such a space and to have the desired effect.

I have set this initial personal contributions as I believe it is the minimun ammount of works needed to acheive a critical mass that will simulate the minimum desired effect of the envisionned larger work. An effect that will spark a substantial and enthusiastic reaction to its diversification.

This initial production of elements is a symbolic gesture on my part as a founder of the Nature of Multiplicity. A means of ‘belonging’ to the work and in no way being sole owner or creator of the work. What is more I have estimated that if this work is to be successful and and stable so as to encourage growthe for the duration of a typical exhibition (up to two weeks) it must be able to regenerate as much loss from its integrity through ongoing chain of creation of inception and dissipation. In other words any pieces sold or given to support the project would have to be replaced in order to overcome the deficit and encourage its growth.

The true life cycle of the work will be determined by the response to the works of its inherent message on its gallery circuits. The message of N.o.M. is a participative one. To create a communal work of art which is meant to live a life of its own, provide multiple meanings by its manipulation and grow in aesthetics variations, meaning through the communal reintegration of and exchange of its elements.

Naturally the second stage of N.o.M. is therefore to be contributed by the viewer.  Participating visitors, novices and experts alike, will be encouraged to take from and put back to the work in order to regenerate the word but also attach other personal meanings to the work. Only then will the work find its true value. 

Within a grander optic N.o.M is to travel and growing as a work of art and I would truly love that it moves from small to large venues onwards through independent spaces and other galleries and hopefully to art biennales as a work representing international and worldly multiplicity.