Jóhann Eyfells – Life at 90

•November 5, 2013 • Leave a Comment
During filming of A Force in Nature

During filming of A Force in Nature

“It is not for us to understand life, but to enjoy it”  Jóhann Eyfells

A Force in Nature – A documentary film

http://vimeo.com/52449621    password: “spirals”

The Leaves of Fall

•October 16, 2013 • Leave a Comment

Leaves of Fall test 2

Sigurður Pálsson – “To be alive is to Become…”

•July 23, 2013 • Leave a Comment

sigurdur_palsson

“We were not intended to Be, but to Become”

We would like to thank Sigurður Pálsson for his beautiful contribution to A Force in Nature.

Born 30. 7. 1948 at Skinnastadur, Iceland, Sigurður Pálsson studied French in Toulouse and Paris 1967-1968, drama and literature at the Institute d’Etudes Théâtrales, Sorbonne, Paris 1968-1973 and again from 1978-1982, obtaining maîtrise and D.E.A. degrees. He also studied at the Conservatoire Libre du Cinéma Français, obtaining a cinema direction diploma. He was professor at the University of Reykjavik and the National Academy of Dramatic Art. Sigurdur Pálsson has also published thirteen books of poetry from 1975 to 2006.  Some of his poems have been translated  into French, Swedish, English, Danish, German, Bulgarian, Chinese, Estonian, Italian, Spanish. He is also a cinema producer.

He was nominated for the Nordic Council Prize for Literature in 1993, and for the Icelandic Literary Prize in 1995 and 2001 and finally in 2007 for Minnisbók (Notebook from Memory) for which he received the Prize. Minnisbók is a memoir of his stay in France during 1967-1982, a playful, bittersweet, funny and charming description of an époque. He was awarded the annual Literary Prize of the Icelandic Radio 1999 and the Booksellers’ Prize for Poetry, 2001. Selected poems were published in French in 1993 in a bilingual edition (Poèmes des hommes et du sel) by Editions de  la  Différence. A selection of Pálsson’s poems was published in Bulgarian in 2005 and in Italien (with texts by two other Icelandic poets) in 2006. A selection in Spanish, Vientos y Nubes, was published in 2008. Pálsson has written eleven theatre plays that have been staged from 1975  to 2008, many of them by the Reykjavik City Theatre while the two most recent ones, a much acclaimed play on the life of Edith Piaf, and the last one, Utan gátta, were put on by the Icelandic National Theatre. One libretto: The Moonlight Island, world premiere in 1997 in Beijing. Music by Nordic Council Prize Winner, Atli Heimir Sveinsson. Three novels: Parísarhjól (The Big Wheel of Paris) published in 1998, Blár þríhyrningur (Blue Triangle) in 2000 and Næturstaður (Night Lodging) 2002.

Pálsson has also produced two full-length features (in 1983 and 1992) by Kristín Jóhannesdóttir.  As in Heaven was selected in the Official Selection (Out of competition) in the Cannes Film Festival in 1992  and has won about twelve prizes in international film festivals. He has directed three TV films and several theatre plays.

Pálsson has translated over twenty titles from French into Icelandic, works by Camus, Genet, Adamov, Arrabal, Ghelderode, Feydeau, Bailly, Queffélec, Prévert, Éluard, Carrère, Augé, Deforges, Cordelier, Châtelet, Vinaver, Anne, Kvaran and Schmitt and also two plays by Arthur Miller. Sigurdur Pálsson was President of the Alliance Française of Iceland from 1976 to 1977. Chairman of the Writers’ Union of Iceland from 1984 to 1988.  He was awarded the three  years Honorary Stipend of the City of Reykjavik in 1987 and has several times been granted a Writer’s Stipend from the State of Iceland. He was made a Chevalier de l’Ordre des Arts et des Lettres in 1990 by the French Minister of Culture and Chevalier de l’Ordre National du Mérite in 2007 by the President of France.

http://vimeo.com/52449621  password: “spirals”

T-Shirt Design for A Force in Nature

•July 22, 2013 • 2 Comments

As we are presently “still” editing our film, I am also in the throws of marketing our film. Below are a few preliminary designs for our T-shirts, for all of the people who have generously contributed toward the making of our film, A Force in Nature. If you do go to the vimeo link to the teaser trailer, be sure to remember the password “spirals”.

T-shirt design   tshirt design copy_Page_3tshirt design copy_Page_4 tshirt design copy_Page_5

See film trailer here:

https://vimeo.com/52449621   Password: “spirals”

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

•June 3, 2013 • Leave a Comment

Image

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

Image

What is the role of the artist?

•February 26, 2013 • Leave a Comment

Image

The following is an interview of Jóhann Eyfells in the early 60′s, shortly  after he decided to leave architecture for sculpture.

Published Interview – October 17, 1964 – Visir (Icelandic newspaper) by Steinnun S. Briem

SB. What are you expressing with this?

JE. “I think that this work of mine does a better job of saying something about me, than I can say about ‘it’. It is very difficult to analyze and explain one’s own work. The artist expresses himself through a certain form, and through this particular form he says all he has to say. When I have expressed myself in sculpture, I cannot repeat the same thing in another form, that is to say in words. This does not mean that I don’t know what I am doing, but I express myself as a sculptor, not as a man with words. All outside influences, that affect me, all inner movements of the emotions, must inevitably find expression in my work. No artist can exist outside his times. The forces of his era always surround him. Perhaps one can detect anxiety and apprehension in my work; ruins, timelessness…how long will this live?…how long does mind live in matter? So much remains unsaid.”

SB. Are you a kind of artist-philosopher?

JE. “No, I am not. Some forms of visual expression base their life on intellectual reasoning, but my art relies more on the logic of feelings. It is two different things to know and to understand. We may know what we are doing, although we may not understand it. We turn on the light by pressing the switch, but we do not understand electricity. We understand nothing.”

“We are constantly taking new steps into the unknown, both in science and art, but do we really understand what is happening? I do not think so. That is why I cannot say much about my work. I can discuss my position and attitude towards art, but not the expression of what I sense. That is in my work and nowhere else.”

And here is some info about A Force in Nature, a feature documentary film due out in Spring or summer of 2013

You can join us on Facebook at Friends of Jóhann Eyfells
Twitter: @haydenyates

Take a look at a few scenes from our film below. Don’t forget the password:
http://vimeo.com/52449621
password: “spirals”

Redefining Art in the 21st Century.

•January 28, 2013 • Leave a Comment

Reykjavik2

Jóhann Eyfells, a defyingly driven 89 year old Icelandic sculptor living in Texas, redefines the meaning and purpose of art for the 21st century. Art is no longer a commodity or something that is there merely as a status symbol or to satisfy a superficial aesthetic need. It has a higher more profound purpose, to reformulate human consciousness. It is there to remind humanity of its own eternal infinite nature that goes beyond time and space. As a young man in Iceland, he was considered to be an exceptional boxer who had never experienced defeat. He would win over his opponent not because he was stronger, but because he would be faster, infinitely so. Boxing provided him with a glimpse of a boundless universe in which everything traveled at infinite speed.

Through Jóhann’s penetrating insight and body of work, we can begin to catch a glimpse at an infinite and ‘unknowable’ universe that resides around us…in spite of our precarious fondness of the visible and physical world.

“Complacency is the unwillingness to explore the chaotic unknown and the undefinable, and resigning ourselves to the coziness of the knowable.” Hayden de M. Yates

Jóhann’s fiery loyalty and commitment had not always been limited just to art. At 23, he left his home in Iceland, land of fire and ice, to forge a new life in America, where he would eventually meet the love of his life, Kristin, also an Icelandic sculptor/painter, with whom he would spend the next 54 years.

Jóhann and Kristin, in their undiluted love for one another would both become consummate and masterly artists, each pushed by the other’s genuine passion and tenacious commitment to their craft, as an expression of humanity and beyond.

And here is some info about A Force in Nature, a feature documentary film due out in Spring or summer of 2013. The password is “spirals”.

You can join us on Facebook at Friends of Jóhann Eyfells
Twitter: @haydenyates

Take a look at a few scenes from our film below. Don’t forget the password:
http://vimeo.com/52449621
password: “spirals”
 
Follow

Get every new post delivered to your Inbox.