Introduction for the XENOSTRUCTURALISM II CATALOGUE (A.Glass 2020)

 XENOSTRUCTURALISM II

The first catalog was compiled in 2019, detailing a backlog of my art of the last six years, including the collection of novels written between 2014 and 2019, this new catalog has since accumulated recent artwork completed in 2019 and 2020, with my latest novel “KALAS” also added. The actual title of XENOSTRUCTURALISM came from the 2017 book, which I wrote, under the name CATACLYSMAL. Incorporating an artistic idealism as part of the story to which an 'art manifesto' was inserted into one of the chapters, that over the years as I have been creating art, this pronunciamento did indeed fit the esthetical even prior to the book and the manifesto being written. An excerpt is as follows:

“Is the alien the design or the design the alien? In a Xeno-Structured world, from simulated realities in games, to the virtual reality and its augmented conceptualization. It is us, the human, that is the creation of worlds. That we developed the construct, the mastery of imagination to harness the possibilities of life that is beyond comprehension, yet divisible in its possibilities. This is, unprecedented in our history, the realization that our biogenics within its current limitations - may never advance beyond what we know as the physics of Space travel and more importantly the search for extraterrestrial contact. Rather it becomes a tantalizing burden on our psyche, this is not a critique of the drive for answers, more so its definition as an absolute averment to imprint that desire of what we may not ever know, as it will be the imagination, which will then create a relevance to our existence.”

   (Manifesto of Xeno-Structuralism. From the novel CATACLYSMAL A.Glass 2017)

And as the author Margaret Wolfe Hungerford once said, “beauty is in the eye of the beholder”, the titles and concepts are formed by my own perspective to reality or at least the reality I perceive; the viewer can identify which ever way they may deem. The books however offer a more personal cue of experiences, events and time lines that are both part of a collective thought process, but also pure in its indifference. Yet, the offer is the same as the art. For whatever its worth, it is, at the end of the day, always retained by the creator.

Adrian Glass

2020

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XENOSTRUCTURALISM II catalogue