ART Habens Art Review ART Habens Art Review - Special Issue #89 | Page 113

Joshua Healey Lapena
ART Habens
just being one or the other. Their unity is not
just about being a personal agenda, but it can
be transferred collectively from one person to
another. In 1984 the only solution left to big
brother is to transform an ideological agenda,
so it becomes the consciousness of a collective
unconscious of its will.
Jung’s analysis of the conscious and
unconscious mind both required a sense of
belief to help the patient suffering from
neurosis. The unconscious is explained as a
random action that puts traits of thought
together from the conscious mind. In someone
who is suffering neurological disorders this
action becomes harder to work out. Pure
abstraction doesn’t account for the difference
between their understanding of realities. Jung,
does describe how they can be ordered so their
relation becomes meaningful. This meaning is
what I am seeking. When most people think of
the unconscious they think of dreams, which
are not complete for the moral side of the
conscious mind (The primordial images). Given
Jung is right to talk about them being ingrained
into our psyche, my paintings consider their
relation to the control of the functions on the
subconscious level. With chance, a computer
has learnt to beat the strategies of the world’s
best poker players. I think that our strategies
and chance are something which the
unconscious collective is in control of, even if
the oppositions to certain ways of thinking are
dominated by a problematic relation to nature:
“in view of these facts we must assume that the
unconscious contains not only personal but also
impersonal collective components in the form of
inherited categories or archetypes.” Carl Jung
Being in control and the ego are the main
elements in popular culture. Power and greed
being a good property of a class has become a
social norm. My work aims to avoid opinions,
statements or conclusions, but rather explores
a meaningless relation; the aim is to render the
usual labels of ‘abstract’, ‘representational’ and
‘contemporary’ as useless. Rather the work is
an intermixed amalgamation of these subjects.
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