DREAM MACHINES                    



"the object of art is not to reproduce reality, but to create a reality of the same intensity."

How to find a balance? How to find the real one? One that falls between reality and fantasy, between temporality and timelessness? For Jaybo Monk, reality isn’t the opposite of fantasy. It is what plugs the void in our being so that the set of fictions, we call reality, are able to emerge. Jaybo’s work oscillates between these concepts and these interrogations. Reality is what can not be included within any of our symbolic systems, but whose absence skews them out of shape, like a vortex around which they are bent out of true existence. 

A form that shapes but not just on the outside surface but will be transparent to the ground; and if the contour of the shape does not come close to forming a boundary, it will be harder to recognize it as a form. Harder to identify it. That will also be the case with something that has a surface but no defining shape. Jaybo Monk’s paintings do contain forms that have both a shape and a surface — that is to say readily visible and identifiable forms — but they also show forms that are less visible and less identified because they are deficient in one or more of these ways. Resemblance is never enough to qualify something as a representation. One always has to be able to distinguish a representation from a mere chance of resemblance.

The incomplete contours in the new body of work by Jaybo Monk in Dream Machines may be thought to resemble piece of wires or strings, tracings of limbs, marks from brushes, moving objects, kiddie rides, nothing at all or even words but their proximity to identify volumes and places them under particular interpretations. Perhaps, urging identities upon the audience too — mainly bodily identities. But Jaybo does not. He hopes that by tampering with the union of the shape and the surface of forms, we will add uncertainty in reading his work, without having any fixed ideas about composition of bodies that will remain in his paintings and objects.

This is his way of attempting to create simultaneous realities, where the slippage in perception between one body and another is seamless so you can perceive different realities collectively at once. What he want is a solid embodied image that feels real and intrinsic to nature, but not necessarily from a singular scene, like: bits of feet, legs, hands, words, get buried in the cyclical process of working. Jaybo Monk is searching for human mass that embodies time and he enjoys the mystery and desires the involvement in the audience’s search through the visual rubble.

At this point we need to ask, “What precisely, in addition to the painting, is being finished or left unfinished, completed or left uncompleted? Is it what the paintings represents as well as what it is? If so, what happens when the representation is left unfinished or open?” Jaybo’s answers with that has to work all the time but not to achieve the completeness. He must strive for completion purely for the satisfaction of becoming truer and wiser. The artist must stop when the goal is reached, irrespective of the paintings degree of finish. The process of Jaybo Monk is self-evidently less; a continuum in which an image is realized than an iterative and sometimes repetitive series of propositions as to what the image might comprise. Every single state in the creation of his paintings or sculptures becomes an adventure instinctive creation without a known goal. The work has to remain open, open to possibilities, possibilities which triggers the perception and stimulation of the viewer to create the dialogue between the three characters involved: the piece of art, the creator and the viewer.