World Trade Center Subway Station Floor
It all started with the mosaic of a great eye that lay directly under the World Trade Center complex in the underground Subway Station.
Here’s the blurb from Wikipedia about the mosaic and the symbolism it evokes.
There are over 300 mosaics dispersed throughout the station, which are part of the 1998 installation Oculus created by Kristin Jones and Andrew Ginzel. These eyes were modeled on photographs of the eyes of hundreds of New Yorkers.
According to artists Jones and Ginzel, “Oculus is a constellation of stone and glass mosaics in the underground labyrinth of interconnected subway stations of lower Manhattan. Over three hundred mosaic eyes, drawn from a photographic study of more than twelve hundred young New Yorkers, are set into the white tile walls of the World Trade Center/Park Place/Chamber Street Stations. The work’s centerpiece is a large exquisitely detailed, elliptical glass and stone mosaic floor (38’8” x 20’8”) at the heart of the Park Place Station. The continents of the earth, interwoven with the City of New York amidst an ultramarine pool, surround a large eye in the middle of the mosaic. The mosaic is at once a vision of the world, a reflecting pool of water and a representation New York City in its proper geographical orientation.
“The work’s detailed renderings of the eye – the most telling, fragile and vulnerable human feature – offer a profound sense of intimacy within a public place. Together, the images create a sense of unity and flow: animating, orienting and humanizing the station. Oculus invites a dialogue between the site and those who move through it.
“The former World Trade Center Station is situated at the northeast corner of the site. The station was flooded and closed to the public following the September 11, 2001 attack. The site was damaged but not destroyed, and it reopened eight months later with the work mostly intact. Oculus was recognized as “an unexpected monument” by the Wall Street Journal on September 11, 2003.
“Oculus was realized in collaboration with the Roman mosaicist, Rinaldo Piras, Sectile.” (Kristin Jones, Andrew Ginzel, Oculus Project Description, <http://www.jonesginzel.com/PROJECTS/oculus/oculustxt.html
So, that is all quite interesting, and it made me wonder what else this pair of artists had created. Well, thus began a horrific journey into the blatant use of public art to portray a great secret. This secret has been hidden in plain view from the unsuspecting public, while incorportating their energy into it’s very matrix to power forces which are bent on exerting control. What a crazy world!
Following are just a few examples of this principle at work. When you consider the theory that most monuments and public buildings are designed to manipulate human emotions, you begin to see how exhibitions funded by the likes of the Rockefellers and the National Endownment for the Arts have a serious tendancy to create art that supports this premise. See if you think the following pieces have any relationship to my previous blogs about Star Gates, Water Doors, and Hyperdimensional Portals!
Here’s a
video for the gullible! Don’t worry, is basically the message, it’s just a bunch of crap!
Union Square, New York City
Yes, that is smoke issuing from a sun amidst a circular grid pierced by a gnomen, floating up to an exact replica of George Washington’s hand from his equistrian sculpture which actually sits right across the Plaza and points directly at the spectacle. What must people think as they pass this by as they scurry to fulfill their obligations to the powers that erect such follies?
Antithesis, Switzerland
This incredibly hyper-dimensional piece actually has a video showing the construction of this display using time lapse methods. It is quite interesting to watch how they are able to access the interior of the cone structures from little built-in doorways under the false floor. Makes you wonder what rituals may take place in the dead of night?
How about this one? The central physical component of Charybdis is the turbulent elliptical whirlpool. This liquid volume is charged – as if evil- it seethes. The opaque surface of the black water reflects red – the passage of the light across the panorama. The bottomless pool is perilous, as its center a flame burns. As the light travels, it is diminished; dissolving – ebbing, it eventually disappears. The scene is again dark and the cycle repeats itself ad infinitum.
Charbdis Phase
Charybdis presents the viewer with a large animate diorama; the work reveals itself in cyclic episodes. The scene is built into a panoramic curved space and viewed thorough a large horizontal aperture. As the cycle begins the void is dark; a dim ellipsoid sun appears red, slowly traveling across a deep Pompeian swirled atmosphere. This source of light grows in intensity and volume as it travels, reaching its maximum, head-on, dominating and illuminating the surreal landscape. A revolving gilt disc reflects creating a focal point.
Just lovely, right? Want to take the family to see this one at MIT on a sunny Sunday afternoon? Probably not. Especially considering the legends that surround this mythology
Charybdis Mythology
For further research (which is highly encouraged!) check out the website for the artist HERE.
STAGE 2 – FOUNTAINS AND TWIN TOWERS
Petronus (Expecto Patronum ?)
Petronus Twin Towers - Malaysia
Kuala Lumpur Malaysia or as the locals call it “KL”
Fintan Dunne, my new hero.
Recent Comments