Abstract

This creative and constructive process is based on a different approach toward thinking, in admitting if the image to build expects to determine what reality is and what amorphous reality is, or to produce a series of “images” with a correlation into an amorphous concept. The possibilities are endless, because amorphous thinking in visual terms is inextricably bound up with sensation and perception. In many ways, how we think is how we see and vice versa. The same mechanisms operated on both the perceptual and the intellectual level, so, these inevitably terms like concept, judgement and conclusion, have to be applied to the work of senses on the use of a method for an amorphous image creation.

Process art attitude may be direct as far as possible toward the perception of “image as such” and closer as possible toward a perception of “amorphous”, to visualize a conception of boundary and form, a brewing scenario for an intuitive vision of an amorphous space, a lapse of time of constant flux where energy and information coming into existence, light and shadow, harmony, a form of animism, the unpredictable on the observer visual sense, the emptiness of absolute identity, an ‘inherent existence’ – perceived and thought to exist ‘from their own side’ exactly as it appear.

In the process of creating, the image environment has the constructive idea of “amorphous space”, to create the capacity of finding different approaches, generating themes around space and time, thus springing the changes where the image shape is subdued by the external elements that make it.

Amorphous *thinking* in the form of amorphous images, will transform those amorphous spaces resembling a boundary that never exists inside of it; observer only will see a bit of an image that causes his senses to produce images that make visualize amorphous image shapes.

An amorphous image process as the beginning of an endless line of continuous transformation of an image place, a mirror image space for everyone image event, continuing without stopping, or being interrupted in space or time.

• Kevin Sarmiento Navarro. Since 1984, I have been a Latin American artist working toward a new art, playing with ingenuity around the themes of birds, fishes and human figures, carefully searching out theories and titles, developing the semiology element and the transfigurative form at the outskirts of sub realism. In the process of creating, I have utilized visual arts to pursue the image environment as an amorphous space, to create the capacity of finding different approaches, generating themes around space and time, thus springing the changes where the image is subdued by the external elements that make it.  angelfire.com/ks/ksn

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