A highly coterminous creation of a sculpture from an ongoing series originally envisioned during recurring REM dreams of  artist Kyle Yip. Sculptures that once appeared immaterial are meticulously reverse-engineered into tactile, obdurate objects. 

The Mandukya Upanishad scriptures describe dreaming as one of four states of consciousness, the other three being the waking, sleeping, and turiya state. The dream is an expression of an involuntary psychic process not controlled by our conscious outlook. It describes our status as it is with no regard for our conjectures as to how things should be. Carl Jung has therefore made it a rule to present dreams as physiological facts of nature. That is to say although dreams may be abstract to interpret, they are invaluable for diagnosis because they never lie.

This neo-avantgarde practice of circumventing the artist's subjective input in the creation of art alludes to the original avant-garde with the incorporation of the readymade and serial form. He realized  how visual attention is augmented through the hypnotic, meditative, and subliminal concentration and serial repetition of the readymade.

The manifested dream sculpture represents "soul searching," and contain its latent meaning. It could be read as anti-intellectual, where the material itself also takes a central, even genetic quality in synecdochic relation to the whole series. Language was articulated to work exclusively through symbols, dividing nature into parts and actions. These computer keyboards were created using similar found objects from the dreams in which they were initally conceived, exploring addiction to searching. When Freud talks about the obscurity of the "dream facade," he is not referring to the dream itself, but is rather projecting upon the dream his own misunderstanding. The narrow-mindedness of North American rationalism dismisses the dream as having a false front only because we fail to decipher it. We would be much better off to admit we are dealing with a language that is unintelligible simply because we cannot read it, not because it has a facade. We do not necessarily have to support such a text to begin with, but it is important for us to understand how to read it.

Yip recognizes his work as both the diagnosis of a cultural condition, but also an opportunity for viewers to meditate on their dreams.

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Dream Keyboard A1