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Gregory Singletary

Gregory Singletary

Gregory Singletary

THE WILLIAMSBURG ART & HISTORICAL CENTER invites you to a one person show by a member of the art club. "WILLIAMSBURG SALON"

Gregory J. Singletary


Dec. 4—Mar. 12 (extended dates)

Opening Fri. Dec. 9, 6–8PM

In transcendence of the dogma of communicative tradition, corporate/government assimilation, the resulting suppression of intellectual thought, and in response to the growing divergence of Nature and Humanity, have I brought into being the ALLEIN series as an expressive vehicle of dissent and change. The series strives, above all, to identify both the written and spoken realms of language as the primary means by which an individual self-awareness, made mandatory due to the growing complexities of constraints placed on perceived human existence, must come into being. ALLEIN has developed into both an ideological language, and means of living stressing simplicity, self-awareness, and an acute understanding of the interconnectedness of all things, actions, and thoughts.

It has been paramount, during the infancy of the language of ALLEIN, to exile and label ‘hostile’—to the proper development of the characters—external visual/ideological influences. To elements of the natural world, only, was credence given and access granted, the result being a lexis of characters within which the curve dominates, rather than the line segment and its accompanying point of conjunction, the angle. The reasoning for this lies simply with the ideological scope of the series—an acute understanding of the interconnectedness of all things, actions, and thoughts. Research of human history and the development of world languages has led me to conclude that language—written, spoken, and visual—provides the vehicle of expression for all of humanity’s ideas, be they manifested physically, or dwell in the realm of perception, and is therefore the only vehicle by which we can know ourselves, and the world of which we are an expendable part. The predominant use of line segments and angles in the individual units of languages represents the presence and dominance of a patriarchal society in which individuals lack the necessary holistic understanding of, and subservience to the natural world. It is so due to the subliminal visual reference of angles and intersections of line segments (both accepted symbols of psychological aggression and conflict). It is essential that lingual systems utilizing visual cues, found in daily experiences with the natural world, come into being to provide a strong subconscious link between what is “human” and what is “natural”.

The sole role of the natural world is to provide humanity with its continued existence. This ‘man over nature’ paradigm gained greater credence with the historical support of religious doctrines glorifying the existence of humanity, devaluing the status of the role of the natural world, and simultaneously according the existence of humanity to the action(s) of an unquestionable entity, or entities. Further credence has been obtained from the political events of the past thirty years, in which the existence of corporate and government entities has superceded that of individuals, resulting in the erosion, not only of dissemination of information, but also trust in the validity of the source from which information is obtained.

“To offer a name to something is the beginning of control over it. After god created Adam, the very first task he instructed Adam to perform was the naming of all animals. God informed Adam that by accomplishing this feat he would gain dominion over all the beasts and fowl.”

“And god said, let us make man in our own image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over every creeping thing that creepeth upon the earth”

“And god blessed them, and said unto them, be fruitful and multiply, and replenish the earth, and subdue it: and have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moveth upon the earth.”

Their ideological impetus notwithstanding, the characters of ALLEIN are reasonably understandable. The characters themselves are simply pictograms of the thing, action, or thought they represent, highly simplified and expressed within the parameters previously set forth. There currently exists no numerical characters, no articles, no past or future tense, no punctuation, and no forms of conjugation, and there are no plans to incorporate these ideas, for to do so would be an open invitation to those ideological dogmas considered hostile. The backgrounds in which the characters rest represent the setting in which my self-awareness reached the status of epiphany. The advancing and receding layers of blue and white represent the various stages of the Texas sky, witnessed throughout a lifetime—serene, indomitable, and startlingly beautiful in its autonomy. The compositional forms of the paintings rely on the Asian perceptions of balance and simplicity, and are intentionally oriented asymmetrically, while those few centrally located within the field express thoughts essential to the holistic understanding of the entire series.

It is my intent to bring the series through a number of manifestations to stress ideological points dealing with human perception, and the collective language in which perception is expressed. Painting, the first manifestation, deals exclusively with the validity of text in an increasingly voice-driven technological world. The paintings, in their solid state of being, question both the manipulation of spoken text, and the ideological/sociological perceptions of words voiced, as well as the dominance of western lingual systems over those inherent in the individual (one’s “I” language—an internal lingual system governed primarily by one’s inherent personality traits, and systems of neural networks, existent at birth, within the brain). Sculpture, the second of the manifestations, must deal with the metaphor of language—in its ideological context—via the use of translucent, and semi-translucent materials. As context is a major factor in the generation, understanding, and permutation of responses to external stimuli, e.g., the vision of a broad unrestrained sky, the teachings of a church, government, or school, and/or the natural specter of the life cycle, it cannot be accorded an inferior status in the hierarchy of factors influencing holistic understanding, and self-awareness. The human perception/ expression of time, and definition of fruitful existence will be the issues addressed in the animated manifestation of the series. Installations will feature animated sequences of the characters of ALLEIN, coupled with voices of random individuals, reading from scripts, at their individual cadence and inflection the following words:

“I am one of many. The more I am, the more truth reigns. I hold the keys to fate. I choose autonomy. I refuse to bow. I will speak the wills. I will lead the journey. I will fire the waters. I will flood the world with what I have always been. I will disrupt the systems. I will smell the flowers. I will taste the honey. I will live as one.

The final manifestation of the series must come about through a series of collaborative efforts, wherein I shall relinquish my influence of ALLEIN. Music, perhaps the greatest form of language, provides a means of communication far superior in the ability to bring those listening to a deeply subconscious state. Necessity, for the express understanding of the ideological berthing of ALLEIN, dictates that individuals find their own understandings, and reject those forced upon them by societal paradigms.

“It is an inherent property of intelligence that it can jump out of the task which it is performing, and survey what it has done; it is always looking for, and often finding, patterns. Now I said that intelligence can jump out of its task, but that does not mean that it always will. However, a little prompting will often suffice…”

Gregory Joseph Singletary

Art and Physics, Leonard Schlain, p.18

THE HOLY BIBLE, GENESIS, King James Edition, Chapter 1, Verses 26, 28

Gödel, Escher, Bach: an Eternal Golden Braid, Douglas R. Hofstadter, p.37