Tine Metz – Four Images

Letters to a Dreaming Self

Acrylics on canvas, 14.5" x 14.5," 2011

The 'Letters To A Dreaming Self' are the beginning of a series of acrylic paintings I started in spring 2011 as project for the IASD Dream Art Exhibition.

The idea of doing such maps springs from those dry times when dreams are not recalled; also I already had dreams that spontaneously connected to a painting I actually had been working on.

The technique I use in my work suits the idea of a multi-layered, slowly developing map. I only use the basic colours blue, red and yellow (two different kinds of each) as well as white and black. Thinned down (sometimes close to invisibility) and put in separate glazes one upon the other, they create the different tones: they are not mixed on a palette nor on the painting itself but they mix as layers, like yellow on top of blue makes green. Each painting has multiple layers of shapes and colours which–even though the lower ones are almost invisible–still shine through. The process of painting is intuitive and not planned; it involves much time of observation and reflection.

So, like a city plan with roads and places, I wanted to paint certain constellations of shapes, colours, lines, dynamic movements and static spots–an open situation–in order to 'wake' the dreamer inside, and feed him with impulses. Like with any painting, I focused on intuition and the flow of work without analyzing or conscious steering. I imagine that, in addition, the mere intent of mapping something unknown impacts the strokes of the brush and the choice of colours; also I imagine that each shown element contains an unlimited extent of something which is not (and may remain) unknown–a white map for both the dreamer and the 'waker,' the painter, the explorer, and the observer.

I also wanted to create a different access to the artwork itself–an access to enter the image on the dreamer's gateway - one that is done by the inner dreamer, the user of the map–and look on it with the dreamer's awareness. I think that, until opened by the dreamer, the map won't be complete.

Example ('Letters To A Dreaming Self I'):

In the night before the dream, I finished the painting by adding a black triangle with a contrasty white line in it right in the center of the map.

The dream: 'We are at the IASD conference in a hotel lounge. Many people stand around, they laugh and chat, there is a festive mood. A door is opened at the side of the lounge. I look into another room which is richly decorated. A long table is set for dinner, loaded with glasses, plates, silver and strange cups with black and white stripes.'

The black and white triangle ('entry point'), to me, refers to the image of the black and white cups which are a surprise element in the dream.

Yet how do I know for sure that the dream is actually inspired by the painting ? There is no scientific proof. I just felt a sudden excitement, a certainty of recognition, a 'knowing' that seemed natural - as if the dream was still active in the shapes and colours of the map.

Images seen during the day may influence the dreaming. The difference with painting is that there's an element of active creation included; even as the dreamer seems to be involved from the first moment. And art, another unknown quantity, steps into the play.

I like to know who the dreamer is and what it is he keeps on showing me, helping me to tap into an awareness that feels like my natural home. Art seems to provide such ways.

Reflections and questions in regard of future maps:

– Are the maps good for multiple sessions and if so, in which way do the dreams change ?
– Find access points that lead to the same dreamscape at different times.
– Taking influence–do certain colors, shapes and patterns impact the dreaming ?
– Who picks the 'route'?
– It would be interesting to hear if the maps work for others, and which way...

Copyright 2011: All work contained herein is protected by copyright. Neither words nor images may be used, copied, transmitted or reproduced in whole or in part in any form nor may they or any part thereof be stored in a retrieval system of any nature without written permission of the artist.