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Recent paintings, Brussels


With these next (new) paintings from 2021, a shift in my painting practice occurred. Which came out of a reflection of the idea, that our minds move in a four dimensional space. Considering this space as what constitutes our reality. I wanted to make paintings that would incorporate the relationship of a dimension that one moves in but cannot see.

Waking up from a nap in my studio, I had a vision of the paintings incarnating the weave as a ground to the work — and a way of giving a basis to the movement in four-dimensional space. However needless to say, over the last couple of years, I have been using a wrapping technique in my sculptures / paintings to express an mummification of materiality and the ritual of transcendence — which puts these paintings as an evolution to their predecessors.

The weaving of strips of canvas as a painting surface creates a continual movement from the visible to the invisible and back. Becoming an action that I move in without seeing — emulating the idea of spirit as a movement in the fourth spatial dimension, suspending aesthetical judgement until the emergence of a pictorial reference. The weave however is not arbitrary but conducts itself as a specific structure to the theory thinking intention of the painting.

Therefore what becomes different to the earlier work, where the theory thinking is applied and depicted through painting and pushed through the eye of art. Is that with these works the theory thinking becomes completely translated into the language of painting. A language that even in representation remains in principle abstract. As such, one could say there is an indigenous element to the paintings, as they transform my ontological narratives in codes of colour, shape and movement.

-Dome Wood

The Agprognostic Temple, Brussels



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Photos: Fabrice Schneider
 
The Agprognostic Temple co-founded with art critic / curator Sam Steverlynck.
It is a project that goes beyond my own art work in the sense of its curatorial framework, while still being connected to it through its philosophy architecture and scenography. 

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4 exhibitions have followed in Chapters:

Chapter 1:
“Scripted Truths” with  Ricardo Brey, Fia Cielen, Benjamin Husson, Felix Kindermann, Philippe Koeune, Shana Moulton, Isabel Tesfazghi, Lou Touchard, Filip Vervaet

Chapter 2:
Nicolas Provost “The Warning”


Chapter3:
“Mirrored Infinities” with Serene Blumenthal, James Lee Byars, Laurie Charles, Eric Croes, Sanam Khatibi, Joris Van de Moortel, Julien Saudubray, Oraura, Antoine Waterkeyn and McCloud Zicmuse

Chapter 4:
Léonard Pongo “ Primordial Earth - The Beginnings”



More details on our website:
www.agprognostictemple.com

The Campaign :
Artificial Meditation Centre for Autonomous Power

Rectangle, Brussels Gallery Weekend - Vanderborght Buildin 





Artificial Meditation Centre for Autonomous Power. The Campaign.



Foreword by Damien Desamory:

I guess if Dome Wood had to start somewhere to explain what reality is, he would begin by discussing dimensions. It sounds obvious that we live in a three-dimensional space. Length, height and width at first glance certainly don’t warrant a closer inspection.

But if you start to scratch at it you’ll find that it gets interesting. First of all, our materiality exists only in the three dimensions. Although we can understand mono or bi-dimensional reality, we can’t actually interact with it. We can conceptualise what a line is, a one dimensional thing, or a plane, a two-dimensional thing, but as soon as we try to grasp at it, we have to trace it and make it three dimensional.

Now let’s take this slightly further, see if it sticks.

In order to contemplate an overview of one dimension, you must be functioning one dimension higher.

If you were existing in one dimension as on a line, while being able to move along said line in one dimension, you would only be able to perceive things in zero dimension ( a point on the line ).

If you were existing in two dimensions – as on a plane – while being able to move in those dimensions, you would only be able to map your trajectories in one dimension, along a line. However, because you can move in two dimensions, there could form the ability to know that what you perceive is also in two dimensions. To be able to perceive two dimensions, you would have to elevate to three dimensions.

By logical progression – moving to three dimensions – a two-dimensional plane can be perceived but not a three-dimensional object.

It therefore stands to reason that there is something on a higher dimension that is perceiving the three-dimensional reality we inhabit for us. This could have many names, Dome calls it Mind.

Mind is our immaterial essence that guides and makes sense of the universe for our three-dimensional “meat suit”.

The human brain is the first thing that has been able to conceptualise this higher dimension. It has invented religions, sciences and taxonomies in order to gain insights on its surroundings and its relationship to this posited superior dimension.









Dome’s model of everything doesn’t only go up to the dimension superior to the one we interact with. It also goes back down. All the way to what is underneath the first dimension, nothingness. This he calls the Void.

Before there was something, there was nothing. Simple enough, right?

However, since everything emanated out of this nothing, it must have been there, present in the form of a potential. Everything that will, would, could, shall ever exist in all the dimensions, is already present in this Void as a potentiality.

This guiding potential, this Force that bares the promise of everything, that materialises reality, that pushes us ever further in our present, it is inside of you and you can harness it.

By getting in touch with it, you can feel your way to the next dimension, gently approach Mind residing out of touch. Start to conceptualise the fact that you really reside on a higher plane and that all the good and the bad that happens to you in your three-dimensional reality doesn’t define you. You are higher and independent of your successes and failures. This helps you relativize them and keeps you centred in your interactions with life and other human beings.

Become a better human being. Become the one whom we can rely on in the toughest moments. Become detachment and empathy. Find a harmony with destiny. Trust your Autonomous Power and let It lead you towards your ever forming present.

Be part of the Artificial Meditation Centre for Autonomous Power.


This is what Dome Wood would say.



For further reading on the text by Dome Wood go to:
http://artificialmeditationcentre.org/
and subscribe to download the brochure.


‘Pre Human Continuum’ 2019


Gallery Waldburger Wouters, Brussels







On the works of Dome Wood

Written by Sorana Munsya,  February 2019



An interesting thing about Dome Wood’s exhibition ‘Pre-human continuum’ is that its discourse can fit in with both the domain of psychology and the politcal field.

Modern Western societies consider consciousness, and its mastery, as one of the central values in a properly functioning human system. Moreover, the idea of evolution takes shape in a clear continuum, moving from the unconscious towards a state of total consciousness – of oneself, of others and of one’s environment. The unconscious is seen as ineffectual or even potentially dangerous for others and for oneself – dangerous and ineffectual because it supposedly does not marshal its power and its active potential on the surrounding context and, above all, because it might escape the tight grip of control of the self.

What is more, in the literature and philosophy developed within the domain of psychology, all that is related to the unconscious is seen as uncontrollable, and only employable insofar as it can be read and interpreted in rational ways – in the ways of consciousness, of knowledge. Even if the unconscious part of the psyche is recognised as playing a decisive role in human behaviour, Western modernity has kept it well within the boundaries of a space inhabited by ideas such as intuition, sensi vity and feeling – terms and concepts that are perfectly valid when discussing art, for example, but completely ignored in a context of decision-making and even power.

One’s sophistication is linked to an accumulation of knowledge. In the age of internet and social networks, where information is being disseminated without discrimination, knowledge seems accessible and cheap. It proliferates all around us and infiltrates our consciousness, giving us the illusion of being freely offered and of turning us into masters of our environment.













The illusion of power created by a seemingly endless growth of knowledge goes hand in hand with the slow diminution of our capacity to use ‘extra-conscious’ zones that help us navigate through society. Intuition and sensory experience – with all their utility for survival – are being devalued and are no longer mobilised in a critical analysis of society. In other words, the effort to gain and employ knowledge acquired through channels relying more on subjectivity, is disappearing, rendering this kind of knowledge worthless.

However, now that we are no longer exercising this competence, we lose confidence in what we know. Our awareness of our own power is abandoning us. With his work, Dome Wood touches upon a highly political subject: our awareness of our competences, even our awareness of our capacity to create knowledge based on feeling and linked to experience. That is political, because when we become aware of what we know – in the midst of this ocean of information – we become agents in our lives and, without a doubt, vectors of change. Humanity’s potential and the power of knowledge will be able to flourish.

Flourish, yes, but in a certain clandestinity, for the powers that be feed o the knowledge potential of their subjects. They ingest it and then excrete it as consumable and mass-reproducable objects. Survival in this vast expanse of information should, maybe, be based upon a production of knowledge that is quotidian, intimate, underground and communal.








Painting Series: Fig 1 - 8 



Quantum Potentiality Theory


Polypotentiality-Wave:
New theory in Quantum Mechanics.

Dome Wood, 2018

These paintings are a series of 8 paintings that deal mainly with my proposed model for consciousness and my speculative theory on quantum mechanics called the  PolyPotentiality-Wave.
 
In brief, I propose that the electron exists in a sort Polypotentiality-wave of intensity, with its probable intensity located inside the wave of all possible potential intensities allowed to the electron.

- At the single slit the polypotentiality-wave gets refracted like sunlight, revealing a path of all possible intensities as varying frequencies.

At the screen the location of the electron is its actual intensity which wasn’t determined prior to hitting the screen but which relates to its probability. (with the most intense electron being found in the centre and the least intense at the edges).

 The double-slit experiment follows the same logic, what differs with the double slit is that the polypotentiality-wave splits in two.

 In one slit the polypotentiality-wave has the electron in its probable intensity and in the other slit is just the polypotentiality-wave  pure. (without the electron)

As these two polypotentiality-waves get refracted at the slits they interfere with each other - causing an interference pattern.

The electron in its probability follows the path of its probable intensity like de Broglie’s pilot wave theory, interfering with its pure polypotentiality-wave.


(As Such the electron in its actual probablity is interfering with its general potentiality)




The difference to de Broglie’s theory is that the probability is still maintained - no ideas of hidden variables are needed.

In this way the theory unites de Broglie’s pilot wave theory with Bohr’s Copenhagen Interpretation.  By adding potentiality as a real presence - in same way that probability was added as a real presence.

When the double slit is observed - the act of observing cancels out the interference pattern. What essential happens is that the observer  cancels the wave out that has not the electron in it, making it perform in the same way as the single slit.

In implications of this theory brings the micro and macro world into direct relation to each other:

The human also goes about their business in their own polypotentiality-wave, that has to do with the different aspects of their life, with a probablity of their own intensity governing their movement.

When an event occurs the potential is revealed, bringing all possibilities to an actuality - which is not determined but related to a probability before the event.

The event then refers to a certain intensity level of the human’s potential at that given time. (which is contextualised with / by  the other)

When we are in a process of self reflection or contemplation, we are essentially interfering with the full potentiality of ourselves.