Dome Wood

Egothávma

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Entmt. is pleased to present Egothávma by Dome Wood, an online-only exhibition.The Egothavma, described by Dome Wood as a new ontological narrative, revolves around his complete conviction that the fourth spatial dimension holds the keys not only to the phenomenology of consciousness but to the universe at large.Wood guides us through his ideas with a series of black-and-white pictorial diagrams reminiscent of those found in technical books, added with a sense of obscurity that reveals his artistic sense of picture thinking.

Exhibition view

Dome Wood
fig. 18, Transcendence into the Material Realm
2022
7016 x 4961 px
Edition of 25
Suitable for A2 printing

Dome Wood
fig. 31, The Transcendent Being
2022
7016 x 4961 px
Edition of 25
Suitable for A2 printing

For the occasion of the exhibition, four of these diagrammatic drawings, printed in A2 format, hang on the wall and are taken directly from the Egothávma.
In the centre of the room, a newly made video, The Fourth Dimensional I is set in a dark and grinding atmosphere. The video further emphasises his core ideas on the relevance of the fourth spatial dimension and is meant as an accompaniment to the book.

Dome Wood, The Fourth Dimensional I, 2022, Video, 1080p, 6m51s, Edition of 7

Dome Wood, The Fourth Dimensional I, 2022, Video, 1080p, 6m51s, Edition of 7

To the right, on the main wall, much like the wall carvings of Egyptian or Babylonian temples, we see Wood's own carving of a cosmological map. Filling the entire wall, it becomes a subtle but somewhat brutal intervention in the space (Egothávma fig.20).

Exhibition view

Details

Dome Wood
fig.20 Evolution of The Universal Present
2022
variable dimensions
Suitable for wall carving
File: svg

The fascination with this fourth spatial dimension as an operating factor in our lives is not new. In her book, The Fourth Dimension and Non-Euclidean Geometry, Linda Dalrymple Henderson gives a full account of the work of artists, philosophers, and scientists who have tackled this compelling idea since it first appeared in the mid-to-late 19th century, both in its more fantastical nature as well as its mathematical meaning."Ranging from a geometric, purely spatial concept in the hands of Poincaré to a mystical vision provisionally incorporating time in the hyperspace philosophy of Hinto, Bragdon, and Ouspensky, " the fourth dimension" offered the possibility of a variety of artistic interpretations. Always signifying a higher dimension of space, "the fourth dimension" nevertheless accommodated differing proportions of geometry and mysticism as well as space and time. (Henderson pg.493-494)In fact, according to her research, the possible existence of a spatial fourth dimension was the main driving force in early 20th century thinking and artistic movements of the time, most notably Cubism. Until it became overtaken by the popularisation of "time" as the fourth dimension, attributed mainly to Einstein’s theory of general relativity becoming verified in 1919.However, far from being a theory buried in the past, Henderson sees an increased interest in "the fourth dimension" in contemporary art. Referring to the contemporary artist Tony Robbin (b.1943) she underlines his suggestion: "....that after a long hiatus, "the fourth dimension" may be on the verge of a new phase of influence." (Henderson pg.508)This is certainly the case with the latest work by Dome Wood, who describes his ongoing pursuit as an effort to understand the presence of the spatial fourth dimension in both art and life. Perhaps with a certain non-dualistic hope that is echoed in his own "hyperspace philosophy.”

Dome Wood, The Fourth Dimensional I, 2022, video, 4k, 10m01s, Edition of 5

Dome Wood
fig. 23, Universal principles of the Human Experience
2022
7016 x 4961 px
Edition of 12
Suitable for A2 printing

Dome Wood
fig. 13, Paradox of Being in the fourth spatial dimension
2022
7016 x 4961 px
Edition of 12
Suitable for A2 printing

Exhibition view

Dome Wood
Mantra door
2022
variable dimensions
Edition of 100

Documentation


Discussion between Pieter Vermeulen & Dome WoodPieter Vermeulen (1983) is an art critic, lecturer, researcher and curator.

Dome Wood
Egothávma — Manifesto — Second Edition
2022, A4, 72 pages
Edition of 500
Book launch at NICC Brussels on 2 April 2022
NFT Publication
Suitable for A4 printing

Biography


Dome Wood (b. 1974) is an Australian artist based in Brussels since 2015, co-founder of The Agprognostic Temple with the art critic and curator Sam Steverlynck in 2020.His work has been recently exhibited at Waldburger Wouters, Michel Rein, and Rectangle.more info:
www.domewood.org
agprognostictemple.com
domewood.tez


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