Multi-space art creates its own visual language as it explores an image as perceived in “our” physical universe and in other mind-constructed universes; in a manner consistent across these universes, including interacting spatial and time dimensions. Communication is introduced both visually and literally. Its roots parallel the scientific concepts of multiple universes (multiverse), which are the subject of explorations in cosmic inflation and the anthropic principle.
Are these universes real? Can we occupy them? Can we measure and define them in a scientific way? Can we define their physical laws? And what if they can be defined and studied without our ability to occupy them in a physical sense? Will they then be real to you and to me? Will we then be able to ocupy those non-occupy-able universes? How ill that state of occupying manifest itself?
In order to differentiate “statement” from “subject matter” a single recognizable image – the face and line of a woman’s (Kena) profile — is consistently used throughout the basic developments of this language. In this, each artwork presents well-defined language statements which are visually understood.
The nature, size and properties of each mind-constructed universe are initially defined by the artist, in a manner that is consistent within the framework of already developed multi-space “statements” and “universes”. Currently these include Positive, Negative, Null, reversed Null, Moebius and Complex universes.
These fundamental language statements form the basis for a continual evolution of multi-space art in their extension to other universes and to more complex and combined subjects.
In addition to its primary intent as art, multi-space art also plays an important role in art/sci relating art and science. The underlying formulation of multi-space art, (enunciated within Left Brain Art) brings a readily intuitive understanding of otherwise complex concepts. Although these language statements are “built into” the artwork they need not be interpreted technically since their meaning is apparent to the intuitive viewer. An examination of the fuller body of consistent artwork translates a left brain concept into a right brain experience, opening very complex technical formulations to a wide art audience and joining these two otherwise disparate Art and Science communities.
When viewed in the context of the growing Art/Sci movement, multi-space art has a well defined historical evolution.
The artist Umberto Boccioni’s ground breaking work appeared in his first exhibition (1913) in Paris paralleling the development of the Theory of Relativity by Einstein (1905-1915). This early art/science connection introduced the visual concept of time through its connections to “speed” and motion and intermixed it in the otherwise static coordinate system of sculpture. Boccioni was not the only artist who did this, but his use of a time and space continuity coincided with the contemporary science concepts, both then and now. The work of the Futurists from Marinetti onward inspired the use of text and other means for direct visual communication. All of these influences appeared in multi-space art as it was evolving, along with additional early influences which include the work of Trova, Brancusi, Rosso and others.
Both multi-space art and Left Brain Art were first initiated by Mel Zaid in 1979 and formalized with his first related sculpture in 1981, advancing into a large body of consistent sculpture and flat work and described in many related exhibitions, presentations and in various publications including many in Art Life (1981-2005), Art Gallery International (1987) and other writings, the DVD Video “multi-space” and the web site www.multispace.net .
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M.Zaid © 2008
