ART Habens Art Review // Special Issue 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. 21 4 06 Special Issue