THE CONCEPTUAL DELUSION
DICTATED BY GLENN FRY.
TYPED BY STEPHANIE SECRETARY FOR THE
CONCEPTUAL DELUSIONISTS.
Most artists produce one off works of art,
although I wish to create a more complex culture through my work. My art is as
convoluted and confusing as life, and with it I strive for perfection, balance
and difference. To this end, I started down the path of creating a personal way
of looking at and thinking about the world: what I call the Conceptual Delusion.
What
is this Conceptual Delusion? Dictionaries
define these terms as follows:
Concept - an idea, especially one generalized from
various instances: ‘concepts of right and wrong’.[1]
Delusion – 1.a) the act of being deluded. b) The fact
of being deluded.
2. a) a false opinion: ‘he has delusions about his own importance’. b) a
belief that is held despite contradictory evidence.[2]
I define a Conceptual Delusion differently. For in each of our own minds we
have a personal version of an ideal reality, which you can basically call a
delusion. But who is to say that a delusion cannot become a reality?
So
when looking at an individual’s work of fiction, whether written or filmed, you
are looking at a Conceptual Delusion
made real. I would like to act as the catalyst for a new way of life, a new
culture and existence.
The
first part of the Conceptual Delusionist
culture is its written language, now dubbed the language of the Seventh Enochian. This language emerged
out of the first Conceptual Delusionist
book Life and the Conceptual Delusion,
which was philosophically on “life the universe and everything. The language then
evolved for use in my work. I had been writing on my images for a long period
of time, and saw this as a chance to obscure the meaning of my art. I wanted to
take it beyond the obvious. I wanted people to be intrigued by what was written,
and what it was written in.
The language of the Seventh Enochian is based upon all known, and unknown written
scripts. This hieroglyphic is in a temporal flux, which can be seen as both keystone,
and future apex for all written symbols.
At this point in time, I do feel that it can be called a true language,
in the sense that it has moved outside the inner circle of the Conceptual Delusionists to the world,
where copies of the first dictionary have been sold.
This
is where I fit in, and explain the complete magnitude of my outlook. In the
case of the Conceptual Delusion, the
relationship between the artist(s) and the work is more than just a creator and
his creation; it is a symbiotic relation where one cannot exist without the
other. The work and the artist(s) are an integral part of the whole, without
the artist(s) there would be no Conceptual
Delusion. This, too, can be said for all art, that if the creators do not
exist, then neither will the creations. Whereas in the Conceptual Delusion, the artists are not just the creators, they
are woven completely into the story and the theory of the art.
The members of the movement are never seen out
of uniform. This uniformity consists visibly of a t-shirt with a personal
symbol on the front, and a shirt with symbols representing identity and rank.
The artists of this culture take this branding one step further with tattoos of
the language, so as to grasp complete ownership of their mortality. This
concept is not that dissimilar to some tribal cultures of the past. Their
tattoos showed who they were, and where they were placed in the hierarchy of
the tribe. Being branded allows the Conceptual
Delusionists to make their presence felt on an everyday basis.
Generally
you can purchase art quite easily anywhere and by anyone. You can get paintings
by one artist, fine prints from another, and find books in a library or
bookstore. Now there is something new stirring in the background, a work of art
that brings all of the above mentioned mediums of painting, printing, and
writing together in conjunction with the other stock standard artist media such
as drawing, sculpture and photography. The Conceptual
Delusion does not only use all the physical media, it also aspires to use
philosophies of light, colour and form from all previous artistic movements.
This allows them to be used as tools to get the complete message across, and
also uses them to find a chaotically conceptual balance between figurative and
abstract art.
In the Conceptual
Delusion you do not just get the stock standard. You get more than any art
that has come before: it is now abstract arts antithesis. In this creation, you
are not just getting a solitary painting or drawing like you would in the past.
For this creation is so infinitely massive no individual person could ever own
it all- yes I did say all. This work of art is not just one single image;
rather it is every minute element of an entire culture, from written language
to cultural history and future (as it may be).
Artistically
there are several aspects to the Conceptual
Delusion:
1.
The cultural elements to a
society, i.e. fashion, Interior design, advertising, cultural icons and the
history.
2.
The metaphysical technology
from the temporal height of the civilization, which also includes the language
of the Seventh Enochian.
3.
The spiritual elements behind
this culture, including all artefacts that come with it which have accumulated
over time, including books, scrolls and talismans.
There
are four main people behind the Conceptual
Delusion. They are Glenn Fry the
spokesman of the group, and then three artists Life, G-TWO and D-L, who each take control of separate
parts of this culture.
Life is in charge
of the cultural elements of the society, G-TWO
creates the metaphysical technology, and D-L
oversees the spiritual side to the Conceptual
Delusion.
Life is the heart and the creative
impulse, that is, the manifestation of the soul, and who imprints his thoughts,
feelings and aspirations into his art. This art breaths, grows and matures
alongside the artist. Life is the
intuition and the will, who can see creation laid out in front of him. He
senses the infinite pathways of existence and the choices that must be decided upon.
Life also ponders on our relationship
with existence, triumphs and the tribulations that we must deal with on an
everyday basis.
These struggles sometimes take us to the edge
and beyond, and even when we have dealt with these problems, Life, with no qualms at all, decides to dredge
them up from the depths, and he shoves them in our face again to make us pause,
consider, and learn.
Life’s
mind maps are visual and symbolise the inner workings of his head, and show
where the Conceptual Delusion has come
from and how it was created. These objects are red graphic maps similar to
those created by cartographers. Some of the imagery in the mind maps has been
visually and intellectually inspired by images and concepts in the film π, an
exploration into mathematical theory and the stock market. More precisely,
patterns in nature like the Fibonacci sequence, and the infinite regression of π
and its affect on the universe, creation and life.
One of the other hats that Life puts on, is as leader of the Conceptual Delusions dictatorship, the State Of Delusion or S.O.D as it is more affectionately known. S.O.D. is the headquarters for the movement’s capitalist
corporation Delusional Cola, which is
a criticism of the world’s economic evolution, and shows how money and power
should never be in bed together. It only breeds a culture of shadow and
corruption.
S.O.D also shows us what could possibly
happen if capitalist corporations like
Coca Cola ran their own countries, and
forced, from my point of view, its fascist ideals on its unwilling citizens. S.O.D is a pay-as-you-go society. It is
free to enter but to leave, you must be a consumer and not everyone can enter
the country. It is closed to certain social groups.
Following Life in becoming
a crucial part of the gestalt was the spiritualist and prophet D.L. who brought another dimension to
this emerging culture. D.L. is the
true mind behind the political party of the Conceptual
Delusionists, and in time this part of the culture will assert itself upon
the world. For now, it waits in the wings, as its reformist ideas are
conceptually radical, and will take time to slowly filter in to society.
D.L.
is also leader of D. Avatars, which
is the spiritual branch of the Conceptual
Delusionists, and whose beliefs are an amalgam of all world religions,
whether they are mainstream or occult. D.
Avatars incorporates the positive points from many spiritual beliefs, to
create a cohesive base of compassion and acceptance. The belief system of D. Avatars, is that there are no gods or
deities, there is only the Universe in which we exist as part of the whole.
A lot of the work that D.L. creates has been visually inspired by the journals and sketchbooks
of Leonardo Da Vinci, in the way that
he laid them out, and his sketches, where every aspect of the image has been
included and taken care of, even down to the finest detail, like his mirrored
text. Leonardo’s influence can be seen in the spiritual writings of D. Avatars.
The Conceptual
Delusionists open their minds and perceive the pure concept of infinite
possibilities: That if you close yourself off to one option, in turn you have
wiped out endless other realities, and like cutting of one branch of a tree you
have stopped all probable growth from that branch.
The
body of work has a complete chronicle, past present and future, hence the
culture of the Conceptual Delusion is
in a permanent state of flux. It is being created in private and excavated for
the public to view at exactly the same time, which creates a sort of temporal
paradox that one day will become obvious for those outside the inner circle.
When artefacts from this culture are put on display, they are presented to the
public in the form of an archaeological museum exhibit. Like all archaeology it
takes time to uncover the past. Sometimes you will find artefacts in dribs and
drabs, and at other times you will find a tomb with a cache of artefacts at
once. Digging up the past is a drawn out task and the Conceptual Delusionists like to toy with the minds of their viewing
public. They are drawing out the process as long as they possibly can.
In the case of G-TWO, where Life explores
the inner workings of his own mind to see how it operates and where thoughts
come from, G-TWO wants to explore the
world around him, and discover what is on your mind. He creates the mind
scanning technology for this purpose. These artefacts have red mind mapping
screens and blue screens that scan creation for any thought pattern. They are
semi organic machines, and use flesh for some of the visual representations of
what is going on inside the mind being scanned.
These
three artists are all separate aspects of my life and personality. In everyday
life all of us wear different masks for each situation we are faced with, we
act differently at work than at home, and this flexibility allows us to grow
and change with every situation. The three artists mirror different times in my
life and art, each one works towards their own goal which can sometimes get
quite confusing.
The Conceptual Delusion interacts with the
real world in every ‘dimension,’ including the artist as part of the art. It will
expand and grow as a culture until the eventual death of its creators, and then
will take on a life of its own (and who knows where that will eventually lead?).
So I urge you to ‘embrace the Conceptual
Delusion for reality is the deformation’.
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