It's All Art
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What is art but a series of questions disguised as images? What is philosophy but an attempt to answer those questions, knowing full well the answers will always be incomplete? This book is a conversation between the two, a journey into the absurd, the profound, and the overlooked mechanics of life-told through sketches, traps, tricks, and talismans of meaning. Here, the ordinary transforms. A figure-four trap is not just a survival tool but a symbol of entanglement, of mechanisms seen and unseen that dictate the movements of our lives. A tattooed arm becomes a family's unspoken history, inked...
What is art but a series of questions disguised as images? What is philosophy but an attempt to answer those questions, knowing full well the answers will always be incomplete? This book is a conversation between the two, a journey into the absurd, the profound, and the overlooked mechanics of life-told through sketches, traps, tricks, and talismans of meaning. Here, the ordinary transforms. A figure-four trap is not just a survival tool but a symbol of entanglement, of mechanisms seen and unseen that dictate the movements of our lives. A tattooed arm becomes a family's unspoken history, inked into permanence even as the body beneath it changes. A frog sits in silent stillness, embodying the effortless wisdom that Zen masters have tried to teach for centuries. Bob Camblin's drawings in these pages are more than images; they are paradoxes made visible. A trap that does not trap. A structure that stands but does not move. A disappearing object that was never meant to be lost. The sketches are blueprints for ideas-some finished, some half-built, all asking you to step closer, to think deeper. We explore the tricks of illusion-vanishing acts, sleight-of-hand, mis-directions both literal and metaphorical. From magic-shop catalogues to existential disappearing acts, we ask: what is real, and what is merely perceived? A coin that vanishes, a cigarette that dissolves into nothing, a structure that exists only to bind itself-each image is a meditation on impermanence, on the absurdity of trying to hold onto anything at all. Then there are the traps-fear traps, time traps, self-made and world-imposed. Some are functional, some are broken before they even spring. But every trap tells a story: of those who set them, those who escape them, and those who never even see them coming. Finally, there is stillness. The kind that endures, that refuses to break even when the world demands movement. The bound form, the bolted-down pillar, the unshaken figure that stands at the edge of the road, looking out at the unknown. Is it stuck, or has it found a peace that wanderers never will? Look into the atom, and you get what you need. Look into magic, and you get what you need. Philosophy and art are in both.
