a small matter of great concern
the twentieth century amassed quite possibly the most compelling cultural artifacts the world has seen since the days of rebirth and antiquity. founded on principles at once progressive and atavisitc, riddled with dichotomy, the import of this artistic experience has been more pervasive and increasingly engrained in the collective zeigeist, as the paintings of today become the pop culture touchstones of tomorrow. it is this engaging aesthetic, at once dadaist, constructivist, and post-modern, that satiates my intellectual thirst and emotional reservior. my worldview is very much closely aligned with the patterns of thought that govern the art experience, the "inner necessity" postulated by kandinsky its root, with the end result a dialectic of production and analysis.
consider the works of the past one hundred years, their contemplative nature (confronting sometimes, calculated yes, illuminating always). the progeny of western civilization, the first breaks from this tradition mainfested the initial salvo of the modern world. talking with the past, sometimes commiserating, often times chastising, groups such as the impressionists, fauvists, and soon the cubists mapped the course (with even the futrists boldly claiming a manifest destiny for the movement itself).
next year is the centennial of the execution of la madimoiselles d'avignon
and with this occassion i think it apropos to take stock in this most complex of artisitc concerns. having mapped the course, we could now push things forward.
the map is not the territory
and now to demarcate my own parcel of mindspace, with a manifesto, naturally:
- power to change reality
- social awareness, enlightened citizenship
- the spiritual, advanced levels of synaesthesia
- the abstract, as the cerebral organization of the highest order
- the primal, the pure, the essence
- use of colour, use of text
- the indulgence of language, the taste of words
- temporal shifts, fragmentation
- the connexion between intellectual and sexual/sensual ecstacy
- heightened sensory experiences
- revolution, danger, the exotic, the new
- multidisciplinary approach, the renaissance man
- labyrinthine, complex, the enigma of ancients
- blood red
- the intense experience of the heart
thus, in this sense:
im very much compelled to the darkness, the dangerous
i think abstraction is the tool to understand that dark region
because abstraction is not easily comprehended or understood
you need to look hard, navigate the labyrinth, this intangible...
historically, the game has been raised by abstraction
shattering the figure into planes, reducing him to bursts of colour
it engages your mind differently than figuration
this difference of method speaks to a rich artistic experience
one that fulfills and stimulates
for a millenium, figuration was the way to paint
now abstraction enters the equation
something new, something different,
something a lot of artists find utterly seductive and impossibly irresistable
there is something to be said for that.
i think this is a suitable preamble.extuent.