An artist has the privilege of communicating visually. Sometimes you want to share his believes in a nutshell.
The new 'Visual grammar', developed by the Council of the European avant-garde of the '20s, particularly the Russian avant-garde - that is, by Vasiliy Kandinsky, as well as the classical heritage from ancient Greece to the Renaissance - is a springboard springboard for my research in art.
What I do is to build on that composition springboard for the establishment of> Visual Grammar, shaped by classical and modern schools, and fill it with content that is more emotional than intellectual, exciting tools at this stage to yield to rational intuition. It 's like a rigid skeleton surrounded by a soft living tissue.
I believe that the spiritual - excellent - standard forms our true objective reality.
The so-called 'realism' is a term commonly attributed to ill-defined art focused on representing the visible surfaces of material objects. This is aindication and the result of an incomplete, even worse, mental horizon, a materialistic view of reality primitive reduced to a small fraction of the physical world - the only village that can be seen or touched.
I must note that many great pieces of art labeled with this word, do not fall into this category poorly defined.
A pure abstract art, which is closer to me, because it is a most important part of reality that matter, in particular with the ideas and pureforms, seams to be lacking too. I believe that the total elimination of material objects as a class from painting, the artist not only impoverishes "toolbox", but is the consequence and an indication of a unilateral approach (the) reality - this time, purely idealistic, almost coincides with the concept of Plato, who saw the changing physical world as a poor copy of a decadent perfect.
Yes, definitely great abstract art masterpieces delivered to humanity in the 20th century.And I can only agree with the statement of Roger Fry: "The form of a work of art has its own meaning and contemplation of the form in and of itself creates in some people a special emotion that depends on the association of form with any other thing whatsoever. "But that does not mean a form of self-sufficiency can not be transformed into a recognizable object.
By the way, the original definition of a common term - Visual Music - was coined by Roger Fry in1912 to describe the work of Kandinsky, which means the translation of music to painting.
As for intuition, or any theory that says that the creative process is exclusively an act of genius, spontaneous and purely emotional, not even worth discussing if it were not so widespread supposition. I have personally heard from several artists, an art critic and art dealers that the various intellectual and physical aspects of the creative process (ie, ideas and techniques) are just boringlimitations, and a necessary evil to creativity. I think this party as an opposition to the dry academicism actually degrading or 'classic' mid-century 19. E '(could) be started when some of the leaders of the Impressionist movement openly rejected the' old grammar ', stressing the importance of direct and spontaneous feeling, the emotional reaction to an artist's impression of that in a creative process. But almost all the artists of that period had a strong"Classic" training before such refusal; have inherited all the property owned by that domain, have inherited the basic visual grammar even on a subconscious level, that can not be said of many of their followers in the 20th century, that even now keep questioning the importance of basic training in the visual arts, as well as the power of the analytical component deductive in making art.
Avant-grad Movement of the first third of the century came to abreath of fresh air, filling the void left by an academic impressionism and degrading dead. It not only restores the position of intellectual tools in the arts, but also dramatically expanded the boundaries of visual arts to an unprecedented level. I would like to emphasize here that the processes are very similar and radicals were taking place at that time a lot around the world in the social sphere, science and industry, architecture and literature, and of coursemusic.
That said, I would like to summarize what all this means for me and my art:
1. Abstract A solid foundation and, if necessary, mathematically described composition is a must (now) in my work.
2. An object must be made in my art, why not share a purely idealistic (in Plato's style) to (i) The fact that, in my view, ultimately leads to mental Uncreation the world.
3. My job is to be a fusion of both, idealmaterial and mixed together by a third party - spiritual strength.
In this respect the music, which is very abstract, and musicians with their beautiful instruments that are so "real" actors are perfect for my exercises. In addition, visual arts and music have much in common.I you can not do to mention at least a few categories that are common to both:
Rhythm - is very evident: length / time / frequency, and including forming (or made) negative space / pause / absence/ Silence - all are common to both camps.
Proportions - proportions and harmonics derived from them, commonly described in mathematical terms, starting from very basic, discovered by Pythagoras, 1:2, 2:3, 3:4, 1:1 - found particularly on the acoustic / musical territory ( please note that these are the basic proportions of the paintings you can buy in a store of art supplies) and then move on to the Fibonacci series, which have their limit in the irrational GoldRatio.
The temperature (hot / cold), sounds and colors. This idea is still considered controversial, but it is obvious that the sounds and colors can be warmer or cooler. Less obvious is an exact scientific correlation between them.
Movement - ascending, descending, etc. elliptical musicians do not need an explanation for this, and neither do the artists. Please look at my study of ascending and descending movements in the composition of the picture before my ellipticalhome page, titled the 'Trio'.
All these sound categories (or watch!) Family musicians and visual artists, who does not?
We can speak of background sounds and colors of a sound is like a ray emerging from a particular starting point and disappear, or as part of an endless line that goes from everlasting to everlasting. We could talk about the intensity / saturation tones in both fields, you could devote a chapter to the theory of contrasts, for examplebetween the 'low' and 'deep' continuous sound or an acute form and 'hit' of a sound or a varnish.
The human ability to see and hear what colors I would recommend, once again, Vasiliy Kandinsky's synaesthesia.
Another fascinating theme is the concept Counterpoint (as known as Contrapunkt), which defines the relationship between two or more different parts of a piece, which are somewhat independent, for instance, in pace, but are interdependent in harmony. This powerful tool, in myopinion, has been much less understood, appreciated and used in visual arts and music.
I designed these based on parallel or very basic level for both arts. But, as a part of life, are constantly evolving (I hate the word 'still life' or 'Nature Mort', and life can not be still or 'death' by definition), developing, progress, or unfortunately, in decline. I find much in common with modern scientific thought (Relativistic Theory, Quantum Theory,Expanding universe model, String Theory, etc.), modern art.
Finally, I'm looking for two things: to explore reality, including but not limited to the part of 'visible', and to participate in shaping it. This, I believe, is ultimately the essence of any creative process.
"We must therefore borrow all our rules for the finishing of our proportions, musicians, who are the greatest Masters of this kind of numbers, and those things in which nature shows more excellentand Compleat. "- Leon Battista Alberti (1407-1472)
I am an artist.
I have the privilege to communicate to you visually.
Musical illustration presented on the site are selected works from my 'Shapes of Music' series.
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