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Ayatana  &  Wall Be/Wall See
(2008 & 2002 respectively)

dallas, texas

dwayne bohuslav
james way


With these works, Wall Be / Wall See (2002) and Ayatana (2008), produced especially for this exhibition, Dwayne Bohuslav juxtaposes conceptual forms and theoretical ideas of the postmodern primitive - architectural fragments and ancient rituals combined to explore the animate and the inanimate; the natural and the technological; the real and the virtual at the intersection of form and emptiness. Bohuslav’s work often explores “emerging interactive forms caught between the organic [primitive] and technological [postmodern].” As early as 1996 Bohuslav wrote:

Each of us today possesses two bodies – the primitive body that a human being has always possessed and the virtual body that has come into being with the spread of the electronic environment. The virtual body, as opposed to the primitive body, cannot be made manifest. Today, the functions served by the virtual body are expanding at an extraordinary speed…. The integration of virtual spaces with physical spaces is as much an issue today as the integration of virtual bodies with primitive bodies.

Thus historicity is not the sole issue, but situating the body and space within the instability of the material and the temporal is paramount to this juxtaposition of exhibition’s theme. Both works reference and incorporate historical elements and rituals while being contemporary.



Ayatana (2008)
postmodern primitives: contemporary inspiration from ancient culture

Six sense organs: Eyes Ears Nose Tongue Body Mind
Six objects of mind: Form Sound Smell Taste Touch Dharmas


Everything that exists arises in the mind.

When sitting in meditation, we concentrate our mind on the object of our observation—sometimes a physiological phenomenon, sometimes psychological —and we look deeply into that object in order to discover its source and nature.

The “forms” for sitting and bowing have been developed over 2000 years in order to focus one’s mindfulness—paying attention to each act and the feelings that arise in response to it—but not to be a hindrance to trying.

You are invited to enter, if you wish, explore and sit. Just sit. Before entering, please remove your shoes and leave them on the floor outside. Standing, bowing, sitting: focus moment-by-moment on your actions—on the physiological (breathe or toe, earth or wood); on the psychological (feelings or perception); and on the physical forms that arise out of this consciousness.

Whether standing and bowing, sitting on the cushion facing the wall or facing the space, respect the space and the space will respect you.

Ayatana, the second and more layered work named after the Sanskrit / Pali word for ‘enlightenment.’ seems to be simultaneously the answer and the question of the juxtaposition of postmodern and primitive. Here the psychological existence (form, sound, smell, taste, touch and dharma) which are inner forms, are juxtaposed with such outer forms as the physiological realms of the eyes, ears, nose, tongue, body and mind, respectively. The installation’s outer form – a layering of physical realms and materials – paper, earth, aromatic cedar, steel, aluminum, and polyurethane –enshrouds the psychological – an awareness of the body, the mind, and their connection to each other and their space.

For over 15 years Dwayne Bohuslav+parasite has constantly evolved action/installation/architecture simultaneously exploring strategies to its host site to “draw out” its own sustenance while, simultaneously, activating the space of its host.

Dwayne Bohuslav+parasite has evolved the practice of performance art, installation art and architecture, simultaneously exploring strategies to “draw out” the sustenance of the host site and re-activate it with a new energy.



Wall Be / Wall See (2002)

Wall Be / Wall See comprises two walls. One is a ‘found object’ fragment rescued from the demolished farmhouse of the artist’s grandparent’s, complete with wood trim, drywall, electrical wiring, wallpaper and flaking paint. The other, a contemporary fabrication, consists of light gauge steel and fluorescent lights wrapped in a polyurethane skin. Wall See mimics the surface form of Wall Be. Viewers moving in between the walls motion sensors activate lights and a 1946 sound recording of the artist’s ancestors recorded by an itinerant priest with a portable recording studio. As the recording reveals the historical nature of the older wall, evident in the recording hiss and pops, the contemporary wall reveals its construction by the shadows cast on the polypropylene skin – both activated by viewers in the present.



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