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Photo Light Aliens
CHAIN OF BELIEFThe Flying Saucer Series
Photo Light Paintings
by JONaEON
Catalog of Exhibition
January 2010
with
Photography Against Itself :Chain of Belief by JONaEON
an essay by
Norman BrysonProfessor of Art History
University of California, San Diego
Chain of Belief Art Installation 2005JONaEON
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Photography Against Itself: Chain of Belief by JONaEONAn essay
by Norman Bryson English 3French 22German 24
Chain of Belief The Origin 5Artistic Statement 5
Photo Light PaintingAn Anointing of Canvas with Illumination
5
Chain of Belief Photolight PaintingsA Series of Fifty Artworks
in Ten Editions 5
Flying Saucer Series ‐ Exhibition Edition 6A Series of
Twenty‐one Artworks in One Edition
Chain of Belief Edition #1 6A Series of Fifty Artworks in Ten
Editions
PricingFlying Saucer Edition release ‐ January 2010 6Edition #1
‐ release February 2010 630‐Day Collector Window 6Editions #2 ‐ 10
Subsequent Editions Price Increase 7
Flying Saucers Gallery Contact 7
JONaEON’s representation 7
Catalog of Artworks, Chain of Belief, The Saucer Series
18‐45
Contents
Page
Shiva Moon - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
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Photography Against Itself: Chain of Belief by JONaEON
The winter of 2010 marks the long‐awaited appearance ofa
remarkable work by conceptual photographer JONaEON– Chain of Belief
is minimal and stripped down, a bare stageon which no human
characters appear, and the drama isenacted instead by silent and
inanimate forces – the moon,the night sky, billowing fabric, the
wind.
Chain of Belief is a deceptively simple work, a montage ofstill
photographs of the night sky, framed by the elevatorshaft of an
apartment building in Santa Monica – an austereconcrete structure
that has been draped, however, withskeins of sheer red fabric that
rise and fall, swell and shiver,with each gust of the passing wind.
Though many of theimages in Chain of Belief are individually
striking in colorand rhythm, the work itself is first and foremost
a se‐quence, running evenly from the first image to the last:what
counts is the pacing, the unexpected transformationsof the simple
elements – the square frame of the shaft, thebrilliant disc of the
moon, the protean dance of the fabric– from one still moment to the
next. Chain of Belief insistson placing the still image back in
‘real time,’ that is, as stilledmoments within an ongoing flow of
movement.
Implicit in the real‐time montage is a certain suspicion ofstill
photography as a possible agent or accomplice in thereification of
the visual field. Everything around us exists induration. Durée is
the temporal matrix that I, as a livingbeing, inhabit and share
with the things of the world. Butof this successive, unfolding time
the still camera knowsnothing; and in place of the shared grounding
in co‐evaltime (the human being and the object world movingthrough
time side by side) still photography gives us a pic‐ture of the
world as pure object, ‘out there’: the world ‘op‐posite’ or
‘against’ the human being – a deadened world offacticity and
reification.
Sphinx Moon - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
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Chain of Belief systematically counteracts still photogra‐phy’s
tendency toward objectification of the world, and, byimplication,
its construction of the viewing subject asstanding against the
world and outside the world. Thoughso little ‘happens’ (“There was
an apartment building. Themoon rose. It crossed the sky……”) it is a
work capable ofgenerating a remarkable range of intensities in the
viewerwho is prepared to work with its structure of suggestion.Its
slightly dilated exposure times have the property of al‐lowing
successive states of change to co‐exist withoutforging a synthesis
between them. They take advantage ofthe camera’s ability not to
impose an organizing point ofview. If still photography can easily
lend itself to the projectof mundane vision – seeing objects set
apart from one an‐other, in a uniform extended space – Chain of
Belief pres‐ents a world not of things but of flows and intensities
ofsensation, textures and colors fluctuating from moment
tomoment.
The sequence of images advances by progressively cancel‐ing its
range of determinate forms, forms whose contouror silhouette are
tied to fixed markers of legibility. In theirplace multiply auroras
and visionary gleams, the billowingundulations of half‐seen
drapery, of implicit hoods andmantles, limbs ands faces
(salamanders, the legendarycreatures of fire). For the viewer who
is prepared to runthe course, the fiery core of Chain of Belief
conjures thesorcery of a scrying mirror where whatever is
banishedfrom regulated consciousness can now peer in from theedge
of vision, emissaries from the heavens or hells that liebeyond or
beneath the terra firma of normalized percep‐tion.
Norman Bryson is Professor of Art History at the Universityof
California, San Diego, and an Advisory Researcher at theJan van
Eyck Institute, Maastricht, the Netherlands.
Red Chamber 3 - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
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CHAIN OF BELIEFThe OriginJONaEON created the Chain of Belief art
installation in2005 as holiday light art for the Santa Monica
ArtColony.
The sharing of the warmth at the hearth inspired thecolor
palette of lush red hues, reminiscent of firelight’sreflections on
flushed faces. Also used symbolically inthe installation were
garlands formed by the links oforange chain and the projection of
fractal images onfabric. These represented the reiteration of
rituals asin the repetition of holiday re‐enactments.
Illuminated by a full moon’s light, the art installationwas
photographed By JONaEON in real time using adigital camera. From
the recordings, fifty images wereselected for the production of a
series of photo lightpainting®.
Artistic StatementIn summary: “Through repetition in time,
structure de‐velops and common unity grows as individuals link in
acultural Chain of Belief.”
Photo Light PaintingAnointing Canvas with IlluminationJONaEON
states. “The objective in photo light paintingis to anoint canvas
with the brush strokes of illumina‐tion captured through a crystal
lens.”
Chain of Belief Photo Light PaintingsA Series of Fifty Artworks
in Ten EditionsThe Chain of Belief Photolight Paintings is a series
offifty artworks each produced in a signed limited editionon
canvas. Each artwork measures 44 inches by 66inches outstretched,
or 40 by 62 inches in gallery wrapmounting.
Chain of Belief Art Installation 2005JONaEON
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The artist will produce a total of ten complete edi‐tions, with
each edition containing fifty unique pieces.Each piece is a “Chain
of Belief Photolight Painting, anoriginal artwork on canvas,
produced, signed andnumbered by the artist, JONaEON.”
The Flying Saucer Series Alien in my Art ‐ Special Exhibition
Edition Twenty Photo‐light Paintings released Jan 2010 The “Saucer
Series” is a edition of twenty artworksfrom CHAIN OF BELIEF series.
Unique in the SaucerSeries is the new works of aliens imagery found
in themirroring of the original Chain of Belief recordings.The
Saucer Series is in exhibition during January 2010at the Flying
Saucers Art Gallery in Santa Monica, Cal‐ifornia.
The Saucer Series, as represented in this catalog, isavailable
for purchase at this time. Each artworks oncanvas measures 44 by 28
inches horizontally out‐stretched, or 40 by 24 inches in gallery
wrap mounting(reverse height & width for the vertical pieces).
Eachwork of art is valued at $1005, or $20,100 for thetwenty
artwork Edition.
Chain of Belief Photolight PaintingsEdition #1 ‐ To be release
February 2010Edition #1, the first complete set of the fifty
originalChain of Belief Photolight Paintings, will be
releasedFebruary 2010, with each artwork valued at $2010,
or$100,500 for the fifty piece Edition.
Edition #1 and subsequent Editions will be available forpurchase
as a whole collection for only 30 days. This30 day window is
intended to facilitate collectors andinstitutions purchase of the
entire collection.
Chain of Belief Art Installation 2005JONaEON
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Editions #2 ‐ 10 Subsequent Editions Price IncreaseUpon the
release of each subsequent Edition, theprice of each photolight
painting in the newest Editionwill be increased to twice the amount
of the prior Edi‐tion. In other words, individual images from
Edition #1will be offered at $2010, while individual images
fromEdition #2 will be offered for $4020, from Edition #3for $8040,
from Edition #4 for $16,080 and so on.
If after thirty days the complete Edition remains avail‐able,
single images from the Edition may then becomeavailable for
purchase. Images will be produced, mar‐keted and sold at the
discretion of JONaEON to collec‐tors, galleries and museums for
exhibitions.
Flying Saucers Gallery ContactPurchase of artworks on exhibition
at Flying SaucersGallery made be arranged by contacting:Ryan
MacLeod MorrisFlying Saucers Caffeine & Art306 Pico Blvd, Santa
Monica CA 90405310 868 8361 Cell‐ 415‐533‐5185
JONaEON’s representationEnvironmental Arts & Research,
Inc.1011 Pico Blvd. #1Santa Monica, CA 90405310 383 0605Email:
[email protected].
Pegasus - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
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Photo Light AliensCHAIN OF BELIEF
The Flying Saucer SeriesPhoto Light Paintings
by JONaEON
Catalog of Exhibition
January 2010
Photo Light Aliens by JONaEON2010 Flying Saucers Series
Chain of Belief ‐ Photolight Painting
Title Size Price PagePhoto Light Alien 1 40“ x 28” $1005 18Photo
Light Alien 2 40“ x 28” $1005 20Photo Light Alien 3 40“ x 28” $1005
22Photo Light Alien 4 40“ x 28” $1005 24Photo Light Alien 5 40“ x
28” $1005 26Photo Light Alien 6 40“ x 28” $1005 28Photo Light Alien
7 40“ x 28” $1005 30Photo Light Alien 8 ‐ 40“ x 28” $1005 32Shiva
Moon 28” x 40“ $1005 34Moon Madonna 28” x 40“ $1005 35Hearth’s
Faces 28” x 40“ $1005 36Saucer’s Shell 28” x 40“ $1005 37Red
Chamber #1 28” x 40“ $1005 38Red Chamber #2 28” x 40“ $1005 39Red
Chamber #3 28” x 40“ $1005 40Red Chamber #4 28” x 40“ $1005 41Red
Chamber #5 28” x 40“ $1005 42Wise One 28” x 40“ $1005 43Salemander
#2 28” x 40“ $1005 44Pegasus 28” x 40“ $1005 45
Flying Saucers Gallery ContactPurchase of artworks on exhibition
at Flying SaucersGallery made be arranged by contacting:Ryan
MacLeod MorrisFlying Saucers Caffeine & Art306 Pico Blvd, Santa
Monica CA 90405310 868 8361 Cell‐ 415‐533‐5185
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Photo Light Alien 1 - JONaEONChain of Belief Photolight
Painting
2010 Flying Saucers Series40“ x 28” $1005
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Photo Light Alien 2- JONaEONChain of Belief Photolight
Painting
2010 Flying Saucers Series40“ x 28” $1005
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Photo Light Alien 3 - JONaEONChain of Belief Photolight
Painting
2010 Flying Saucers Series40“ x 28” $1005
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Photo Light Alien 4- JONaEONChain of Belief Photolight
Painting
2010 Flying Saucers Series40“ x 28” $1005
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Photo Light Alien 5 - JONaEONChain of Belief Photolight
Painting
2010 Flying Saucers Series40“ x 28” $1005
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Photo Light Alien 6 - JONaEONChain of Belief Photolight
Painting
2010 Flying Saucers Series40“ x 28” $1005
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Photo Light Alien 7 - JONaEONChain of Belief Photolight
Painting
2010 Flying Saucers Series40“ x 28” $1005
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Photo Light Alien 8 - JONaEONChain of Belief Photolight
Painting
2010 Flying Saucers Series40“ x 28” $1005
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Moon Madonna- JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
Shiva Moon - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
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Red Chamber 2 - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
Red Chamber 1 - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
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Red Chamber 4 - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
Red Chamber 3 - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
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Red Chamber 6 - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
Red Chamber 6 - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
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Salemander 2 - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
Wise One - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
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Pegasus - JONaEONChain of Belief Photolight Painting
2010 Flying Saucers Series28” X 40” $1005
Chaîne de Croyance
Chaîne de c royance est une œuvre faussement simpliste,montage
de clichés de ciel nocturne encadré par la cagedʼascenseur dʼun
immeuble de Santa Monica, structurede béton austère, drapée
cependant de lés de voile rougetransparent qui sʼélèvent et
retombent, enflent et frémis-sent à chaque souffle de vent qui
passe. Bien que denombreuses images de Chaîne de croyance soient,
indi-viduellement, éclatantes de couleur et de rythme, lʼœu-vre en
elle-même est avant tout une séquence qui sedéroule doucement de la
première à la dernière image.Ce qui compte, cʼest le rythme, les
transformations inat-tendues des éléments simples, le cadre carré
de la cage,le disque étincelant de la lune, la danse protéenne
delʼétoffe, dʼun instant immobilisé au suivant. Chaîne decroyance
sʼattache à replonger le cliché dans « le tempsréel », cʼest-à-dire
le présenter en temps quʼinstant im-mobilisé au sein dʼun flot de
mouvements continus.
Dans le montage en temps réel il existe une suspicion im-plicite
que le cliché se pose en agent possible ou en com-plice de la
réification du champ visuel. Tout ce qui existeautour de nous
existe dans la durée. La durée est la ma-trice temporelle que
jʼhabite et partage, en temps quʼêtrevivant, avec les choses du
monde. Mais lʼappareil pho-tographique ne connaît rien de la
continuité de ce tempsqui se déroule. Et, au lieu dʼune évaluation
partagée dece temps (car le monde de lʼêtre humain et celui de
lʼobjetse déplacent dans le temps lʼun à côté de lʼautre), lecliché
photographique nous donne une image du mondeen tant quʼobjet à
lʼétat pur, « là-bas » : le monde « enface » ou « contre » lʼêtre
humain, un monde engourdi defaux-semblants et de réification.
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Installation Detail - JONaEONChain of Belief Art
Installation
Chaîne de croyance prend systématiquement le contre-piedde la
tendance du cliché photographique à déshumaniserle monde et, par
conséquent, à considérer le sujet commeposant devant le monde et en
dehors du monde. Bien quepratiquement rien ne « se passe » (« Il y
avait un immeuble.La lune sʼest levée. Elle a traversé le ciel… »),
cette œuvreest capable de générer une gamme remarquable
dʼinten-sités émotionnelles chez lʼobservateur qui sera disposé
àœuvrer avec ses structures de suggestion. Les temps dʼex-position
légèrement dilatés ont la faculté de permettre la co-existence
dʼétats successifs de changement sans quʼil nese forge une synthèse
entre eux. Ils tirent profit de ce quelʼappareil photographique
détient la capacité de ne pas im-poser un point de vue
organisationnel. Tandis que le clichéphotographique peut se prêter
facilement au projet de la vi-sion ordinaire (voir les objets comme
séparés les uns desautres, dans un espace étendu et uniforme),
Chaîne decroyance présente un monde constitué non de choses maisde
flux et dʼintensités sensorielles, de textures et decouleurs
fluctuantes dʼun instant à lʼautre.
La séquence dʼimages se déroule, effaçant progressive-ment
lʼéventail des formes déterminées, formes dont lescontours ou la
silhouette sont liés à des marqueurs fixés parla lisibilité. En
leur lieu et place, des aurores boréales et deslueurs visionnaires
se multiplient, ondulations bouillon-nantes dʼune draperie à demi
cachée, de capuches et decapes, de membres et de visages
(salamandres, créatureslégendaires de feu). Pour lʼobservateur
disposé à tenterlʼaventure, le noyau ardent de Chaîne de croyance
conjureles maléfices du miroir magique dʼoù toutes ces choses
quiont été bannies de la conscience réglementée peuvent
enfinémerger subrepticement aux confins de la vision, émis-saires
des cieux ou des enfers gisant au-delà ou au-dessous de la terra
firma des perceptions normalisées.
Norman Bryson is Professor of Art History at the Universityof
California, San Diego, and an Advisory Researcher at theJan van
Eyck Institute, Maastricht, the Netherlands.
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Installation Detail - JONaEONChain of Belief Art
Installation
Chain of Belief
Chain of Belief ist eine fast trügerisch einfache Arbeit,
eineFotomontage des Nachthimmels, die durch den Aufzugss-chacht
eines Apartmenthauses in Santa Monica eingerahmtwird – eine strenge
Betonstruktur, in der leuchtend rote Stoff-bahnen drapiert wurden,
die mit jedem Windstoß fallen undsteigen, anschwellen und zittern.
Obwohl viele der Bilder derReihe Chain of Belief schon einzeln
durch ihre Farbe undihren Rhythmus überzeugen, wird diese Arbeit
vor allem alsSequenz bedeutsam, die sich uns vom ersten zum
letztenBild der Reihe erschließt.
Was hier wirklich zählt, ist die Verlangsamung der Bewegung,die
unerwarteten Veränderungen einzelner Elemente – derquadratische
Rahmen des Aufzugsschachtes, die leuchtendeMondscheibe, der
proteische Tanz des Stoffes – von einerMomentaufnahme zur nächsten.
Wie The Chain of Belief zie-len darauf ab, das Einzelbild wieder in
den Kontext derEchtzeit zu setzen, also als Momentaufnahmen
eineslaufenden Bewegungsflusses.
Hinter dieser Echtzeit-Montage steht der Zweifel, ob
Momen-taufnahmen als Hilfsmittel zur Abbildung des Sichtbaren
über-haupt geeignet sind. Alles um uns herum existiert
alsZeitdauer. Durée ist die zeitliche Matrix, in der ich als
Lebe-wesen lebe und die ich mit den Dingen der Welt gemeinsamhabe.
Aber von dieser vergehenden, sich entfaltenden Zeitweiß die Kamera
nichts, und statt eines gemeinsamen Fun-daments der
Gleichzeitigkeit (der Mensch und die Objektweltbewegen sich Seite
an Seite durch die Zeit), gibt uns die Mo-mentaufnahme ein Abbild
der Welt als reines Objekt, „dadraußen“. Die Welt steht im
Gegensatz zum Menschen – eineerstarrte, verdinglichte Welt.
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Chain of Belief kehrt systematisch den Trend des Einzelbildeszur
Vergegenständlichung der Welt um, und als Folge davonauch die
Position des sehenden Subjekts, das gegen die Weltund außerhalb der
Welt steht. Obwohl so wenig„passiert“...(„Es war einmal ein
Apartmenthaus. Der Mond gehtauf. Er zieht über den Himmel...“) ist
dies eine Arbeit, die aufden Betrachter, der sich auf ihre
Suggestivität einlässt,außerordentlich intensiv wirkt.
Die leicht verlängerten Belichtungszeiten ermöglichen
aufeinander folgenden Zuständen der Veränderung, neben einan-der zu
existieren, ohne eine Synthese zwischen ihnen zuerzwingen. Sie
nutzen die Fähigkeit der Kamera, keinen or-ganisierenden Standpunkt
vorzuschreiben. Während Einze-laufnahmen normalerweise alltägliche
Visionen schaffen, indenen Objekte getrennt von einander in einem
gleichmäßigausgedehnten Raum existieren, zeigt uns Chain of Belief
dage-gen nicht eine Welt der Dinge, sondern einen Fluss von
Inten-sitäten und Gefühlen, in dem sich Texturen und Farben
voneinem Moment zum nächsten wandeln.
Im Laufe der Bildsequenz werden die konkreten Formen
schrit-tweise ausgelöscht, Formen, deren Konturen oder
Silhouettenals feststehende Zeichen deutbar sind. An ihre Stelle
tretenzunehmend polarlichtartige, visionäre Schimmer, wogendeWellen
der nur halb sichtbaren Stoffe, erahnte Kapuzen undMäntel,
Gliedmaßen und Gesichter (Salamander, die leg-endären Feuerwesen).
Für den Betrachter, der es wagt, sichder Herausforderung zu
stellen, beschwört die Glut von Chainof Belief einen magischen
Spiegel herauf, in dem alles, dasaus dem normalen Bewusstsein
verbannt wurde, nun durchdie Grenzen des Sichtbaren hereinspähen
kann - Abgesandteaus Himmel oder Hölle, die weit jenseits der Terra
Firma derstandardisierten Wahrnehmung beheimatet sind.
Norman Bryson is Professor of Art History at the University
ofCalifornia, San Diego, and an Advisory Researcher at the Janvan
Eyck Institute, Maastricht, the Netherlands.
JONaEONChain of Belief Art Installation