Fluidism Philosophy
Artist Robert Kernodle
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PHASE IV Description
Fluidism began as the staging of liquid events whose dried residue became artwork. Liquid paint was poured, pooled and manipulated;... patterns dried the way they settled;... and this dried-paint substrate was the actual artifact.
PHASE IV takes this process to a new level... past actual-dried-fluid to virtual-wet-fluid by way of photography.
There are short-lived, fragile patterns in chaotic fluid flow which emerge and retreat faster than paint can dry to capture them. More importantly, these patterns CANNOT EXIST in dry paint, since such patterns critically depend on the fully-liquid state.
Here in this highly transient, chaotic state is where the most intriguingly beautiful forms develop. Here is where the human hand provides only an insignificant nudge to encourage the universe's natural creative actions. Here is where actual liquid form lasts only a fleeting moment. Then it disappears.
The actual liquid substrate degrades,... but an image of its peak performance can be captured with a camera.
While fluidism always regarded real liquid substartes as the true artwork, this particular level of delicacy disqualifies real liquid substrates. Consequently, a photograph is the next best thing, defining a new version of fluidism by default.
Better still, a real, dynamic form becomes virtually embedded in a photograph, creating a symbiotic form in two media (fluid and phtographic film).
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