The version of reality modern man accepts like a fish to water, is often referred to as the matrix. The root of that word is ‘mater’ = mother; matter or materialized experience. But what about the father = “pater”, or the pattern that filters reality to show up as it does? The perception of physical matter within this matrix has been patterned by thousands of years of conditioning. This programming of Western patriarchal society profoundly affects our experience of time or space. This blueprint for filtering the materialized world could be called the patrix; linear, hierarchical, and boxed.
Unlike the cube, the sphere is the most efficient and by far the most common form in our perceivable universe, which is made up of cyclical phenomena, spiraling fractals, and trillions upon trillions of spheres on micro and macro levels. Yet, in the aforementioned patrix of the canonized (canon = cane, measuring rod) art world any untamed delight for curvature somehow gets curbed. Art that indulges too much in spiraling, curvilinear or non-hierarchical composition gets marginalized to token boxes patronizingly referred to as feminine, folk, indigenous, or outsider art.
The institutions of art, armed in fortresses of white cubes and columns, serve as gatekeepers and bridge trolls to prevent cross-pollination with anything unfiltered. The self-anointed ones promenade the latest fads from glowing rectangles with socially-engineered fanfare for the emperor’s newest new clothes, while maintaining the power structure at all costs. That structure is by design compelled to divide, frame, and categorize everything for us in terms of materialism and physical identification, perpetuating myths of scarcity, separation, fear, and limitation. Human perception and attention itself have been colonized and forced into square pixels, talking points, flow chart thinking, performative communication, competition, urgency culture, polarization, hyper-analysis, compartmentalization, and linear timelines.
With this as the prevailing context for metamodern life and art, simply allowing ourselves to relax into even a momentary remembrance of wholeness, becomes a powerful act. The ocean is in each drop, and the holographic nature of reality is seeded within all. Spherealism seeks to unite, intuit, and synthesize rather than analyze; to tap in to the mother void from which all material things emerge, encapsulating those moments on multiple levels and by any means.
Join artists Bereket & Sfera in a celebration of nonlinear radical wholeness, the thrill of the curvilinear, the feminine, the indigenous, and the timeless in a visual dialogue to shift the man-made-and-measured cubic paradigm.
For more information, or to get on the list for private events, please visit levelgallery.art
About the artists
Bereket Adamuu is an interdisciplinary artist in New York City, hailing from The Southern Peoples Nations of Ethiopia whose work resists confinement by genre or medium. They weave past and future narratives to traverse time and space, delving into African social, political, symbological, and relational structures, and mapping Ethiopian history and familial timelines. Art becomes a means for time travel and healing. They explore what legacy and lineage can look like when reconciling generational differences, notions of right and wrong, envisioning a joyous future, and working through collective grief and loss. Bereket’s work is a call to examine the gaps; the spaces in between offer a path to go back for that which you have forgotten and see the beauty and resilience despite adversity.
Sfera Louis is a Brooklyn-based sculptor and painter working in an automatic free-form process. Unconventionally raised in sub-cultural margins, the shimmering dance of de-centering shows up throughout her work. She plays with spatial riddles and linear puns to prevent any single narrative or path from dominating. The lack of hierarchical centering is meant to evoke a shift in consciousness or relaxed awareness, as the viewer is called to reconcile the apparent contradictions by allowing them to coexist simultaneously, and dwell in between the lines of the seen and unseen.