I would like to think that eventually fine art could become part of a more sustainable way of living, and that everything I am involved with would be seen as being entangled in some way with everything else. The idea of Organic Acupuncture being yet another signpost along a way that links to a much older tradition, whereby art and other forms of communication and knowledge transfer, are part and parcel of an approach to life that grounds its culture in a sensitivity to the biosphere, or what we now often call Gaia. The name Gaia was revived in 1979 by James Lovelock, when he was advised by William Golding to call his new theory of bio-systems regulation by the name of the old Greek goddess of the Earth, 'Gaia', (the same deity that in Roman times was called Terra). The Gaia hypothesis proposes that living organisms combine with inorganic material to form a dynamic system that is the Earth's biosphere and that this system maintains the Earth as a stable environment for life. The Earth itself is therefore viewed as an organism with self-regulatory functions. Art would in this case be simply part of that self-regulatory process.
There are several types of energy flow, the one we are most implicated in is the flow of energy through living things within an ecosystem. All living organisms can be organised into producers and consumers, and those producers and consumers can further be organised into a food chain, and usually humans are right at the top. But once we remember that over 50% of any one human being is actually composed of bacteria, we perhaps begin to see that the idea of one type of species being on top is actually meaningless. We are all interconnected.
The spaces surrounding Bacon's figures rarely immerse themselves back into the figures which inhabit them. They operate as traps, framing the event, rather than as reciprocal energies. Perhaps his contemporary Frank Auerbach was much more able to represent the integration and flow between the body and its spatial environment.
Merleau-Ponty implies that the body constitutes both the cognitive ground of culture and its existential ontological ground. He argues (1962, p. 303) that we recognise things from the point of view of our bodies. Therefore it could be further argued that perception begins in a body that already knows itself; which is why my current research is focused on interoception and is entangled into the things that the body perceives in relation to itself, as Merleau-Ponty goes on to say, ‘my experience breaks forth into things and transcends itself in them, because it always comes into being within the framework of a certain setting in relation to the world which is the definition of my body’ (Ibid).