The freedom when creating art, gives chances and excellent possibilities for broader study and discoveries
also in science such as philosophy, mathematics and physics.
Smiling when I remember my colleague Erkka N. and his entrance into my exhibition Right Here Right Now at The Helsinki City Museum Gallery - Kluuvi, surprised he said: "it is like entering right into a big abstract painting"
Maybe it wasn't meant as a compliment, more like an explanation or observation.
Of course, it can be absolutely enough, the unknown, beautifully abstract, but there was and still is a binary, minimalistic precise, and limitless mathematical language there, which I developed over many years.
At The Tokyo Biennale 2023 Exhibiting The Diptyque: Perspective Lyrique Japonaise together with the Swedish poet and author Rikard Larsson-Eng
Henry Grahn Hermunen revealed some essentials about his artwork and research
In the early 1990s, Grahn Hermunen evaluated how to explain complex connected structures in the most primary minimalistic way, relating only two symbols, the circle and square. Add movement and spin to these symbols in any directions
and they become/are equivalent; at the same time, they are opposite, representing (+) and (-), male and female, body and soul etc. This binary system might be extended with another dimension/s to become a sphere and a cube for example,
also in movement. A allegory for a possible extensive "language", with no limits.
Of course, we are shaped through our time and history, when years of work progressed I recognized the mathematician, philosopher and scientist Gottfried von Leibniz who worked with the same invention
and noticed these factors in the Islamic geometric models as well. Wordless communication from ancient grandmothers and fathers in textile, stone ornaments and wood carvings
Practically and metaphorically, these fundamental binary code components are used in computers as 0 and 1.
So my research trough art goes in all directions from there: the shape of our universe, universes, space time, particles,
life, death, afterlife, action at a distance, entanglement, social structures - politics, and even extrasensory perception - ESP discoveries.
Just for example, there are no limits
Some pieces have a consciously intuitive aspect, it's related to the deep knowledge that we all possess within us.
In a letter to his friend and gallerist Karin Weber, Grahn Hermunen writes
Recently (in mid October 2023) my high school friend R. Axelsson came to meet me in a thoughtful and nice way, we talked a few words and he showed me all his different
images of life on (in) his upper body, I studied them carefully and suddenly "woke up".
Robert lived in an other city and we haven't actually been in contact for 3 decades, so I had to follow up on this "dream".
It turned out that he had "passed away", or rather "moved on" in connection with this phenomenon.
It was a kind of distance effect between different states, an extraordinary but genuine meeting between two real individuals,
in another sphere or in its borderland to ours.
For decades, I have been examining the dichotomy of 'life after life' - 'body and soul' and have discovered many evidences of it in my research.
These transparent multi layered/sequenced "glass" works I left in your care, they are essential parts of this.
The images manifest how all our time and events of our lives are sequenced and can be browsed (in afterlife) like the pages of a book, like turning the pages of a life book forwards and backwards
from moment to moment.
So in the hereafter, we actually can study all our passed life, image to images in "real time".
I understand how this can sound for people who don't work with these things, but anyway, this is some of my research discoveries
The question may be, is it better to remain silent about all such things. The knowledge or the possibility is open to everyone to discover, that "you shall live just as well as I"
Or should I only reveal parts of what I have observed and found out through my work? Perhaps it is enough to let the works of art appear with their own language.
* H. Grahn Hermunen. ISBN 978-91-633-0767-6
