In Dichotomy, Rene Bituin delves on common notions of duality: from good and evil, left and right, enlightenment and ignorance, pleasure and pain, to the minute details and the great grand scheme.
His latest works reflect such dependence to a particular idea, a bias that infects our perspective, thus preventing the expansion of the intellect and understanding. Reality is discerned on the basis of the social constructs that molded our perceptions to choose, not from multiple vantage points, but from absolute opposites, such as the concept of heaven and hell, and of beauty and ugliness.
Bituin uses intangible figures that symbolize our realities as an antithesis to the figurative fictions that we have concocted to satisfy the yearnings of our faculties: hard-edged geometry and seemingly chaotic architecture against structures that are sinuous and somewhat biomorphic. The abstract and the actual engage in the dynamics of the extraction of meaning. However, as one object exists, its opposite idea co-exists, just as light is imperceptible without darkness. Such contentions are necessary to gain an understanding of the larger implications of the boundaries of a twofold proposition. Is there a middle ground, a link that makes sense of the neglected details that lead to such paradoxical connections? Bituin leaves it to the perceptive viewer.