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Rowynn Dumont

Chimeric Unrest

I have had the honor of being the Chair of Board for the First Annual Exhibition at IDSVA(Institute for Doctoral Studies in the Visual Arts) this year. I also have a few new pieces, that are apart of the “This is England” series, in the exhibition. The catalog for the show is officially out now. You can view it and purchase your own copy at the link below, or click on the image.

I taught a Cyanotype Workshop today here in Shrewsbury.  Despite the cloudy, wet English August weather, it ended up successful!  I am very proud of my students for their perseverance and determination ;)

Some sketches/ cartoons that I drew for the design of the sculptures I did for Nimbus @ Vespertine in Shanghai, China.  The surrealist futuristic steampunk bar.  

If we believe Plato, the artist knows and represents nothing but lies. Not only that, but such lies make men cry—make them act, that is, like women.

- George Smith President of IDSVA 

"Aristotle replies, in effect, “The artist knows less than the philosopher, that I grant you. But it’s also true that the artist knows more than the historian, because [his] mimetic representations are universal, whereas the historian’s facts are particu- lar.” Always the pragmatist, Aristotle takes Plato’s binary of the ideal/real and sets up knowledge as a working hierarchy: philosophy = high; art = middle; history = low. Hence begins one of the main dialectical histories of Western epistemology—with the science of philosophy always already in first position and art and history endlessly fighting it out for second place. But it is Plato’s original point about mimesis as the artist’s representation of lies that sets up the key aesthetic dialectic between truth and art—not to mention the ever-enduring relationship between aesthetics and misogyny. (Aristotle in the Poetics equates women and slaves, as if to assure Plato that whatever their differences on art, they’re a match when it comes to patriarchy.)”