MATRIX SERIES
Keight is a world unto itself, with its four cardinal points perfectly summed up by four great “walls” of signs, immersive works of experimentation and exchange, calling up the totality of its prior quests. These “walls”, gigantic paintings made up of a host of references integrated into a single geometrical space, in fact constitute the artist’s true visual statement. They also symbolise a progression towards a state of awareness and acceptance of one’s own emptiness. Each “panel” stands alone as a totality that questions the essence of its own theme, but can also be read in a continuous, circular manner, freely associating each element to achieve heightened meaning. And of course, there is no real “logical progression” from panel to panel, because it is through the “rhizomatic” and holistic confrontation of these different approaches to our human and spiritual condition, much like the ease of moving fluidly from one approach to another and of interconnecting them, that a more apparent and less “constrained” truth emerges.
DEA†H
To free oneself from the illusion of living life according to social demands, it seems vital to confront our deepest fear: death, as an allegory for passage, for a necessary confrontation with oneself, for the acceptance of our limits. Vanity possessed of a pallid energy, gallows, viruses, spectral faces disappearing as soon as they appear—but also tombstones and Christlike sacrifice—all these elements give us pause for thought as to our finitude and the need to recognise it, rather than to flee from it. The structure of this “panel” is also arranged in stages, in the manner of a progression; or rather, a fall...
DIGI†AL GRAVEYARD
In Digital Graveyard, a virtual and interactive work, the public is invited to reflect on its own death, but in a playful way. This is nonetheless the paradox, or even oxymoron (an oxymortality?), represented by the tension between the rich and colourful iconography, the piece’s “game” dimension, and the fact that each and every viewer must actually check in to a future in which his or her death has already come to pass! It is up to viewers to come to a decision, and to dare to tame the irreducible human condition, by choosing “their own” headstones out of a wide range of tombs, on which to have their initials engraved. Another important function of this digital piece, which takes the form of a dedicated website, is the idea of inserting oneself into a wider community, that of the “virtual cemetery”. Thus, Keight reminds us that, from time immemorial, there have been sacred and ritual qualities to the question of burial, qualities that are part of a collective dimension... but he renews the way that dimension is seen, through the individuation of each person via his or her own colours and choices, conscious and alive.
See the Digital Graveyard and also on OpenSea.
META-D!SCOVERY
Beyond appearances, beyond social reflexes, beyond the illusions of life, beyond our projections of ourselves, there lies a deep inner world connected to a much larger universe, which exceeds and transcends it, but also sustains and stimulates it. This mystical experience is summarised in a single visual image that is incredibly rich, yet still readily understandable. Structured pyramidally in an attempt at universalising time and space, it offers us a path with multiple entrances. The votive heads, the fabrics, the meditative experience, the mountain and sun, the body transfixed by the protons of a universal energy: this whole conceptual territory helps usher us towards introspection. As with most of the other “walls”, some “mantras” summarise and distil the entirety of Keight’s thought. And here we now find ourselves, invited: to consider ourselves, to drop our masks, to reunite with ourselves, to let life permeate us, to follow our inner colours.
$OCIETY
What drives us to stereotypical social behaviour? Why has “happiness” become synonymous with a full shopping cart? Factory chimneys belch out the ghosts of the “scream” that spreads its anguish across an ominous shared future, while the star inside man is a nuclear reactor, consuming him from within. And no person is ever anything more than the infinite repetition of the same gesture, dressed up in social attitudes. Crushed within a false freedom and an individuality that mirrors everyone else’s, the individual is locked inside an illusion of his or her own projection, follows a signposted route, and must rise through the ranks, at any cost.
L!FE
The light illuminates the bodies that are the veritable spinal columns of the world, while the growing hair serves as an allegory for enduring nature. A strand of DNA expresses the identity of each living being, but also the possibility of merging with a tree, as a primordial choice: that of integration with the tree of life. This panel is also an allegory for mental and social openness, the suggestion of a different relationship with other forms of life and cultures. The whole is structured as a cross, which of course is evocative of life that can be saved through sacrifice. Sexuality, landscape, the cosmos, contemplation, and introspection are so many vitalist exhortations that allow us to continue to hope.
MEDITATION WALLS
The meaning of this piece is twofold and contradictory. The Meditation Walls series is set in a context related to airport areas, hectic areas subject to inflows in every which way, and where agitation is omnipresent, juxtaposed with the symbolism of departure, which is the renewal of the Being through the unloading of excess luggage, taking with one’s Self only the essential.
MATRIX SERIES
Keight is a world unto itself, with its four cardinal points perfectly summed up by four great “walls” of signs, immersive works of experimentation and exchange, calling up the totality of its prior quests. These “walls”, gigantic paintings made up of a host of references integrated into a single geometrical space, in fact constitute the artist’s true visual statement. They also symbolise a progression towards a state of awareness and acceptance of one’s own emptiness. Each “panel” stands alone as a totality that questions the essence of its own theme, but can also be read in a continuous, circular manner, freely associating each element to achieve heightened meaning. And of course, there is no real “logical progression” from panel to panel, because it is through the “rhizomatic” and holistic confrontation of these different approaches to our human and spiritual condition, much like the ease of moving fluidly from one approach to another and of interconnecting them, that a more apparent and less “constrained” truth emerges.
DEA†H
To free oneself from the illusion of living life according to social demands, it seems vital to confront our deepest fear: death, as an allegory for passage, for a necessary confrontation with oneself, for the acceptance of our limits. Vanity possessed of a pallid energy, gallows, viruses, spectral faces disappearing as soon as they appear—but also tombstones and Christlike sacrifice—all these elements give us pause for thought as to our finitude and the need to recognise it, rather than to flee from it. The structure of this “panel” is also arranged in stages, in the manner of a progression; or rather, a fall...
DIGI†AL GRAVEYARD
In Digital Graveyard, a virtual and interactive work, the public is invited to reflect on its own death, but in a playful way. This is nonetheless the paradox, or even oxymoron (an oxymortality?), represented by the tension between the rich and colourful iconography, the piece’s “game” dimension, and the fact that each and every viewer must actually check in to a future in which his or her death has already come to pass! It is up to viewers to come to a decision, and to dare to tame the irreducible human condition, by choosing “their own” headstones out of a wide range of tombs, on which to have their initials engraved. Another important function of this digital piece, which takes the form of a dedicated website, is the idea of inserting oneself into a wider community, that of the “virtual cemetery”. Thus, Keight reminds us that, from time immemorial, there have been sacred and ritual qualities to the question of burial, qualities that are part of a collective dimension... but he renews the way that dimension is seen, through the individuation of each person via his or her own colours and choices, conscious and alive.
See the Digital Graveyard and also on OpenSea.
META-D!SCOVERY
Beyond appearances, beyond social reflexes, beyond the illusions of life, beyond our projections of ourselves, there lies a deep inner world connected to a much larger universe, which exceeds and transcends it, but also sustains and stimulates it. This mystical experience is summarised in a single visual image that is incredibly rich, yet still readily understandable. Structured pyramidally in an attempt at universalising time and space, it offers us a path with multiple entrances. The votive heads, the fabrics, the meditative experience, the mountain and sun, the body transfixed by the protons of a universal energy: this whole conceptual territory helps usher us towards introspection. As with most of the other “walls”, some “mantras” summarise and distil the entirety of Keight’s thought. And here we now find ourselves, invited: to consider ourselves, to drop our masks, to reunite with ourselves, to let life permeate us, to follow our inner colours.
$OCIETY
What drives us to stereotypical social behaviour? Why has “happiness” become synonymous with a full shopping cart? Factory chimneys belch out the ghosts of the “scream” that spreads its anguish across an ominous shared future, while the star inside man is a nuclear reactor, consuming him from within. And no person is ever anything more than the infinite repetition of the same gesture, dressed up in social attitudes. Crushed within a false freedom and an individuality that mirrors everyone else’s, the individual is locked inside an illusion of his or her own projection, follows a signposted route, and must rise through the ranks, at any cost.
L!FE
The light illuminates the bodies that are the veritable spinal columns of the world, while the growing hair serves as an allegory for enduring nature. A strand of DNA expresses the identity of each living being, but also the possibility of merging with a tree, as a primordial choice: that of integration with the tree of life. This panel is also an allegory for mental and social openness, the suggestion of a different relationship with other forms of life and cultures. The whole is structured as a cross, which of course is evocative of life that can be saved through sacrifice. Sexuality, landscape, the cosmos, contemplation, and introspection are so many vitalist exhortations that allow us to continue to hope.
CONSCIOUSNESS IN SLEEP MODE
Allegory of the human sleeping consciousness. Waiting for awareness. This big wall shows the state of art of our human consciousness that is locked by closed trapdoor contained by black lines that evokes the form of a coffin, symbol of our dying state of body & mind.
MEDITATION WALLS
The meaning of this piece is twofold and contradictory. The Meditation Walls series is set in a context related to airport areas, hectic areas subject to inflows in every which way, and where agitation is omnipresent, juxtaposed with the symbolism of departure, which is the renewal of the Being through the unloading of excess luggage, taking with one’s Self only the essential.
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