Get it back? Why?
Into the Forest is an art piece that allows us to see the essence of child movement itself and therefore appreciate its beauty. It makes us realize that this movement is beautiful by itself, even when the concept and connotations of children are removed. Furthermore it allows us to experience such movement, by being captured by a magical forest in which it floats and moves all around.
Then the question becomes: is there anything else that could change in the viewer after experiencing this art piece apart from appreciating the beauty of child movement and experiencing it again?
YES there is. By remembering and experiencing childhood in this way and learning to appreciate it in its purest forms we recall and partially recover that “vitality, joy and sense of wonder” that according to Erikson people lose when becoming adults. (Hoare, 113) It’s that mixture of feelings that children naturally possess but eventually lose, as adults, to the mechanization of society that can be recovered, it’s their inner wildness.
The process of recovering the inner wildness begins with the challenging of the idea adults have of children related to society. To recover it, they need to change the perception of children behavior as weak, little, irresponsible, non-serious, irrational and therefore useless for the everyday life of grown-ups in which one has to be as productive as possible. (Hoare, 114) An everyday life that is categorized in many ways for its mechanism to work, in which adults have roles and responsibilities that make them more efficient, more austere, more materialized, more mechanical. Thus annihilating their creativity, their freedom and their own imperfect and natural ways to look at the world. Annihilating their inner wildness.
Into the Forest challenges such precepts about childhood behavior as the viewer gets immersed into the representation of the essence of childhood and is taken back to his own inner wildness. By remembering his inner wildness, accessing it and experiencing it the viewer begins the journey to restore it and keep it alive. The journey that will allow him to break the stereotype of children with respect to adult society and like Charles Schulz said “unearth remarkable potentials in themselves” just by keeping “alive the glee and imagination of children” (Hoare, 114) A journey that will revive that spark and allow him to contradict the monotonous and systematic society that educated him on how to live.
Then the question becomes: is there anything else that could change in the viewer after experiencing this art piece apart from appreciating the beauty of child movement and experiencing it again?
YES there is. By remembering and experiencing childhood in this way and learning to appreciate it in its purest forms we recall and partially recover that “vitality, joy and sense of wonder” that according to Erikson people lose when becoming adults. (Hoare, 113) It’s that mixture of feelings that children naturally possess but eventually lose, as adults, to the mechanization of society that can be recovered, it’s their inner wildness.
The process of recovering the inner wildness begins with the challenging of the idea adults have of children related to society. To recover it, they need to change the perception of children behavior as weak, little, irresponsible, non-serious, irrational and therefore useless for the everyday life of grown-ups in which one has to be as productive as possible. (Hoare, 114) An everyday life that is categorized in many ways for its mechanism to work, in which adults have roles and responsibilities that make them more efficient, more austere, more materialized, more mechanical. Thus annihilating their creativity, their freedom and their own imperfect and natural ways to look at the world. Annihilating their inner wildness.
Into the Forest challenges such precepts about childhood behavior as the viewer gets immersed into the representation of the essence of childhood and is taken back to his own inner wildness. By remembering his inner wildness, accessing it and experiencing it the viewer begins the journey to restore it and keep it alive. The journey that will allow him to break the stereotype of children with respect to adult society and like Charles Schulz said “unearth remarkable potentials in themselves” just by keeping “alive the glee and imagination of children” (Hoare, 114) A journey that will revive that spark and allow him to contradict the monotonous and systematic society that educated him on how to live.
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