POST PSYCHEDELIC PRINT COLLECTION
1-05-02 (1/25 limited edtion)
Mindscape 02
1-05-02 (1/25 limited edtion)
Mindscape 02
2004-08-16
2004-08-14
Modern art 20
POST PSYCHEDELIC PRINT COLLECTION
1-01-09 (1/25 limited edition)
Tree of life 09
The Fractal Art Manifesto by Kerry Mitchell in Fractalus
"""As a genre, Fractal Art (FA) has been around for approximately 15-20 years. Its first major public display may be considered to be an article about the Mandelbrot Set published in "Scientific American" in 1985. Since then, many advances have been made, both in fractal rendering capabilities and in the understanding of fractal geometery. Perhaps now is an opportune time to make a defining statement about what is (and what is not) Fractal Art.
Fractal Art is a genre concerned with fractals—shapes or sets characterized by self affinity (small portions of the image resemble the overall shape) and an infinite amount of detail, at all scales. Fractals are typically created on a digital computer, using an iterative numerical process. Lately, images that are not technically fractals, but that share the same basic generating technique and environment, have been welcomed into the FA world.
Fractal Art is a subclass of two dimensional visual art, and is in many respects similar to photography—another art form which was greeted by skepticism upon its arrival. Fractal images typically are manifested as prints, bringing Fractal Artists into the company of painters, photographers, and printmakers. Fractals exist natively as electronic images. This is a format that traditional visual artists are quickly embracing, bringing them into FA's digital realm.
Generating fractals can be an artistic endeavor, a mathematical pursuit, or just a soothing diversion. However, FA is clearly distinguished from other digital activities by what it is, and by what it is not.
Fractal Art is not:
Fractal Art is:
Most of all, Fractal Art is simply that which is created by Fractal Artists: ART. """
1-01-09 (1/25 limited edition)
Tree of life 09
The Fractal Art Manifesto by Kerry Mitchell in Fractalus
"""As a genre, Fractal Art (FA) has been around for approximately 15-20 years. Its first major public display may be considered to be an article about the Mandelbrot Set published in "Scientific American" in 1985. Since then, many advances have been made, both in fractal rendering capabilities and in the understanding of fractal geometery. Perhaps now is an opportune time to make a defining statement about what is (and what is not) Fractal Art.
Fractal Art is a genre concerned with fractals—shapes or sets characterized by self affinity (small portions of the image resemble the overall shape) and an infinite amount of detail, at all scales. Fractals are typically created on a digital computer, using an iterative numerical process. Lately, images that are not technically fractals, but that share the same basic generating technique and environment, have been welcomed into the FA world.
Fractal Art is a subclass of two dimensional visual art, and is in many respects similar to photography—another art form which was greeted by skepticism upon its arrival. Fractal images typically are manifested as prints, bringing Fractal Artists into the company of painters, photographers, and printmakers. Fractals exist natively as electronic images. This is a format that traditional visual artists are quickly embracing, bringing them into FA's digital realm.
Generating fractals can be an artistic endeavor, a mathematical pursuit, or just a soothing diversion. However, FA is clearly distinguished from other digital activities by what it is, and by what it is not.
Fractal Art is not:
 | Computer(ized) Art, in the sense that the computer does all the work. The work is executed on a computer, but only at the direction of the artist. Turn a computer on and leave it alone for an hour. When you come back, no art will have been generated. |
| | Random, in the sense of stochastic, or lacking any rules. Being based on mathematics, fractal rendering is the essence of determinism. Apply the same image generation steps, and the same result will follow. Slight changes in process usually lead to slight changes in product, making FA an activity which can be learned, not a haphazard process of pushing buttons and turning knobs. |
| | Random, in the sense of unpredictable. Fractal Art, like any new pursuit, will have aspects unknown to the novice, but familiar to the master. Through experience and education, the techniques of FA can be learned. As in painting or chess, the essentials are quickly grasped, although they can take a lifetime to fully understand and control. Over time, the joy of serendipitous discovery is replaced by the joy of self-determined creation. |
| | Something that anyone with a computer can do well. Anyone can pick up a camera and take a snapshot. However, not just anyone can be an Ansel Adams or an Annie Liebovitz. Anyone can take brush in hand and paint. However, not just anyone can be a Georgia O'Keeffe or a Pablo Picasso. Indeed, anyone with a computer can create fractal images, but not just anyone will excel at creating Fractal Art. |
Fractal Art is:
| | Expressive. Through a painter's colors, a photographer's use of light and shadow, or a dancer's movements, artists learn to express and evoke all manner of ideas and emotions. Fractal Artists are no less capable of using their medium as a similarly expressive language, as they are equipped with all the essential tools of the traditional visual artist. |
| | Creative. The final fractal image must be created, just as the photograph or the painting. It can be created as a representational work, and abstraction of the basic fractal form, or as a nonrepresentational piece. The Fractal Artist begins with a blank "canvas", and creates an image, bringing together the same basic elements of color, composition, balance, etc., used by the traditional visual artist. |
| | Requiring of input, effort, and intelligence. The Fractal Artist must direct the assembly of the calculation formulas, mappings, coloring schemes, palettes, and their requisite parameters. Each and every element can and will be tweaked, adjusted, aligned, and re-tweaked in the effort to find the right combination. The freedom to manipulate all these facets of a fractal image brings with it the obligation to understand their use and their effects. This understanding requires intelligence and thoughtfulness from the Artist. |
Most of all, Fractal Art is simply that which is created by Fractal Artists: ART. """
2004-08-13
Modern art 19
POST PSYCHEDELIC PRINT COLLECTION
1-03-11 (1/25 limited edition)
Explosion of colors 11
1-03-11 (1/25 limited edition)
Explosion of colors 11
About fractals.
Fractals are images generated by mathematical formulas that can be downloaded from public formulas databases on the internet. After launching a formula in a fractal program, an image results that can be modified in basically 2 ways:
1. tweaking the formula + the coloring algorithm + the transformation formula.
2. Zooming into the image. In the words of Fractalus, "a fractal is a shape that, when you look at a small part of it, has a similar (but not necessarily identical) appearance to the full shape. Take, for example, a rocky mountain. From a distance, you can see how rocky it is; up close, the surface is very similar. Little rocks have a similar bumpy surface to big rocks and to the overall mountain". Fractal programs let you zoom in the image as many times as you want, every time one step deeper.
You can then tweak the parameters of this new image and zoom into it until you find a selection that is visually attractive for you. The best of programs let you cut out from the image the part that you wish to retain instead of having to rework the whole displayed image.
Are fractals art works?
Again I'll refer to Fractalus:
"What seems so plain to fractal enthusiasts—that fractals are a form of art—doesn't appear to be quite so obvious to other people. The assumption seems to be that since fractals can't really be produced without software, which does all the calculations, that the "artist" must just be punching in some random numbers and seeing what results. This couldn't possibly be art.
Well, it just doesn't work like that. It really isn't that simple. Yes, anybody can download some fractal software, play with it for a few minutes, and produce a picture or two. But then, anyone can buy Photoshop, play with it for a few minutes, and produce a picture, too; is that art? What about if someone buys a canvas, some paints and brushes, and whips out some simple painting? Is that art? Does it matter what tools are used? "
2004-08-12
Modern art 18
POST PSYCHEDELIC PRINT COLLECTION
1-02-12 (1/25 limited edition)
Mystic fish 12
1-02-12 (1/25 limited edition)
Mystic fish 12
It is an unquestionable fact that Prints fade. Two factors explain this:
- paper quality and longevity
- Ink quality and longevity
Wilhelm Imaging Research, Inc is the world leading specialist of those matters relating to prints durability.
Eina BEMS, the company distributing my prints, uses one of the best combinations presently available on the market for its art prints:
1. EPSON Enhanced Archival Matte paper: a beautiful flat finished heavyweight paper, with no texture surface; popular for fine art use
- Features:
* Flat matte surface
* Instant drying with Epson inks
* Excellent color reproduction
* Highest resolution output
* Photo thickness
* Excellent Hightlights
* Fine shadow detail
- Detailed Specs:
* Weight: 45 lb. (192 g/m2)
* Thickness: 10.3 mil
* Opacity: 94%
* Pounds/Ream 51#
* Base Material: Paper
* Surface: Flat Matte
* Lightfastness: 62 years.
These ratings are based on accelerated testings of prints on specialty media displayed indoors, under glass. Actual print stability will vary according to media, printed image, display conditions, light intensity and atmospheric conditions. For maximum print life display, place all prints under glass or lamination or properly store them. Ratings based on tests conducted by Epson and Wilhelm Imaging Research Inc.
For more about the subject, visit Inkjet Art Solutions
2. EPSON UltraChrome inks.
Pigment-based, the ink is water-resistant, resists running or smudging, with any paper type, though the papers may not be waterfast. These inks resist fading from light in framed display condition for over 60 years. These ratings are based on tests conducted by Epson and Wilhelm Imaging Research. PC World cites a Display Permanence rating of 92 years for the EPSON C80-82 inks as used by Eina BEMS for printing its 8x10' formats.
2004-08-11
Modern art 17
POST PSYCHEDELIC PRINT COLLECTION
1-02-08 (1/25 limited edition)
Mystic fish 08
1-02-08 (1/25 limited edition)
Mystic fish 08
My "Post-Psychedelic Print Collection", to this day, comprises 60 "digital paintings" that I created in 2002. I plan to give in this blog's "Modern art" series a selection of 8 of those prints as an illustration of my digital work.
Those works are realized with the following FREE programs:
- Fractals: I used successively the following tools: Fractint, Chaos Pro and Ultra Fractal. All 3 programs can be downloaded free. Ultra Fractal is clearly my preferred. You can for example cut parts of a fractal image and then zoom in those parts... After reaching an interesting fractal image, I transfer this image to an imaging program for changing contrast, intensity, colors and details.
- Imaging: Adobe photoshop7 and The Gimp. I worked with Photoshop since the mid-nineties but after working extensively with The Gimp recently, I find that the Gimp works perfectly for me. Technically, you get the same functions on both programs, the real bonus of The Gimp is that it is Free while Photoshop costs hundreds of $ that you have to give out with each new version. The finalized image has then to be transferred to an editing program for printing.
- Editing and printing: I now use Open Office for A4 (letter) or A3 sizes (a free program that I find very stable and user friendly). I used to work with Page Maker which I continue to use for larger sizes. I discovered Scribus (free) recently, critics say that it is comparable to Page Maker but I need more time to familiarize with this program.
Those works are realized with the following FREE programs:
- Fractals: I used successively the following tools: Fractint, Chaos Pro and Ultra Fractal. All 3 programs can be downloaded free. Ultra Fractal is clearly my preferred. You can for example cut parts of a fractal image and then zoom in those parts... After reaching an interesting fractal image, I transfer this image to an imaging program for changing contrast, intensity, colors and details.
- Imaging: Adobe photoshop7 and The Gimp. I worked with Photoshop since the mid-nineties but after working extensively with The Gimp recently, I find that the Gimp works perfectly for me. Technically, you get the same functions on both programs, the real bonus of The Gimp is that it is Free while Photoshop costs hundreds of $ that you have to give out with each new version. The finalized image has then to be transferred to an editing program for printing.
- Editing and printing: I now use Open Office for A4 (letter) or A3 sizes (a free program that I find very stable and user friendly). I used to work with Page Maker which I continue to use for larger sizes. I discovered Scribus (free) recently, critics say that it is comparable to Page Maker but I need more time to familiarize with this program.
2004-08-10
Modern art 16
DREAMSCAPE. Tapestry n# A-001-4x6'-1/1
(photo of a 1 Design Unit = 120 x 180 cm)
Artist unique edition tapestry: 1 on 1 piece in total, available in
2 different sizes (1, 4 design units)
Here follows the design of a 4 Design Units
Tapestry n# A-001-x4psd.jpg-1/1
I have been commissionned in 2002 to design a collection of tapestries for Eina BEMS llc.
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
2004-08-08
Modern art 15
THE INFINITE A. Tapestry n# D-014-A-S-1DU-../30
(photo of a 1 Design Unit = 120 x 180 cm)
Limited edition tapestry: 1 on 30 pieces in total, available in
6 different sizes (1, 2, 3, 4, 6 and 8 design units)
Here follows the design of a 8 Design Unit
Tapestry n# D-005-A-S-8DU-../30
I have been commissionned in 2002 to design a collection of tapestries for Eina BEMS llc.
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
2004-08-07
Modern art 14
SONG OF SPRING A. Tapestry n# D-013-A-S-1DU-../30
(photo of a 1 Design Unit= 120 x 180 cm)
Limited edition tapestry: 1 on 30 pieces in total, available in
6 different sizes (1, 2, 3, 4, 6 and 8 design units)
Here follows the design of a 8 Design Unit
Tapestry n# D-005-A-S-8DU-../30
I have been commissionned in 2002 to design a collection of tapestries for Eina BEMS llc.
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
2004-08-06
Modern art 13
WINNOW THE WINGS A. Tapestry n# D-007-A-S&L-1DU-../30
(photo of a 1 Design Unit = 120 x 180 cm)
Limited edition tapestry: 1 on 30 pieces in total, available in
6 different sizes (1, 2, 3, 4, 6 and 8 design units)
Here follows the design of a 8 Design Unit
Tapestry n# D-005-A-S-8DU-../30
I have been commissionned in 2002 to design a collection of tapestries for Eina BEMS llc.
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
2004-08-05
Modern art 12
MIRROR A. Tapestry n# D-007-A-S&L-1DU-../30
(photo of a 1 Design Unit = 120 x 180 cm)
Limited edition tapestry: 1 on 30 pieces in total, available in
6 different sizes (1, 2, 3, 4, 6 and 8 design units)
Here follows the design of a 8 Design Unit
Tapestry n# D-005-A-S-8DU-../30
I have been commissionned in 2002 to design a collection of tapestries for Eina BEMS llc.
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
2004-08-04
Modern art 11
FLAMING A. Tapestry n# D-005-A-S-1DU-../30
(photo of a 1 Design Unit = 120 x 180 cm)
Limited edition tapestry: 1 on 30 pieces in total, available in
6 different sizes (1, 2, 3, 4, 6 and 8 design units)
Here follows the design of a 8 Design Unit
Tapestry n# D-005-A-S-8DU-../30
I have been commissionned in 2002 to design a collection of tapestries for Eina BEMS llc.
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
Traditional tapestries and rugs are based on the weaving of yarns. Eina BEMS' material as well as the manufacturing technique were new (assembly of leather-wool parts) and nobody had ever designed rugs for this technique.
Eina BEMS' finally selected 13 designs, in 2 color versions, among some hundred designs that I had proposed. In total that gave them a collection of 26 different tapestries.
I give here a sampling of 7 of those tapestries as illustration of my designs. For more on those tapestries, visit www.einabems.com
2004-08-03
Modern art 10
Philosophy. Beijing. Fall 2001
Gouache/paper 55 x 80 cm.
CONTENT
An image, colors and words.
The words in the image are the following:
The contact between opposites generates a burst of energy fueling changes and transformations that are as the seconds on the ticking clock of evolution.
From this we know that the life of all species and their members is given by the changes occuring in the following 3 dimensions:
- The SKY or the influences of environments, from vicinity to infinity, on each specy and its members.
- The EARTH or the influences of the hardware and software assigned to the members of each living specy. This is called:
* the drama of reproduction of the specy through sex
* the drama of reproduction of the individuals through the satisfaction of their objective needs: food and shelter.
- The SELF or the influences of the cultural and economic works of each specy upon itself, upon its members, upon other species and upon the environment.
Seeing that cultural and economic works are nothing more than the specific forms and answers of one particular specy to the influences of the earth and the sky, that is very wise indeed.
Since having written this text in fall of 2001, I come to think that I should add a third aspect of the earthly influences:
* the drama of complexification: starting with unicellular organisms, life is programmed to strive for always higher degrees of complexity.
2004-08-02
Modern art 9
The Concert hall that Beijing will not get. Beijing. Fall 2001
Gouache/paper 55 x 65 cm.
CONTENT
Having decided to build a new concert hall in the capital Beijing, in 2000, the Chinese Government called for bids from architects and designers. They received proposals from around the world and after long deliberations, the selection committee decided to award the contract to Paul Andreau, the French architect who had built Shanghai's International airport. His project was to build a half sphere, covered with titanium plates, wherein the different concert rooms would be encased.
A storm of protests erupted from the Chinese architect community and the project was cancelled.
After many months of silence, the selection committee decided to reaward the contract to the French architect. JIANG Jemin's voice triumphed, Beijing would have its modernist monument.
Witness of all this affair, I put my own idea on paper...
The most amazing came after Paul Andreu's Paris new terminal at Charles de Gaulle crashed unexpectedly only 6 months after its opening. Beijing was sweating, the talk was now all about the calculations of the construction that they had started under Andreu's direction?
But more importantly, how shall their leaders' monument to modernity reflect upon Beijingers and all chinese for that matter? Let's just for an instant imagine what has been Beijing's masters deep motive. Is it proudness of their culture and civilization or is it some sort of deeply burried shame that makes them reject all Chineseness and root for a deeply Western take on modernity?
In the end, should Andreu's selection not be seen as something akin to Jiang jemin dyeing his hair in yellow
The New York Times, of August 1st 2004, had an article by SAMUEL G. FREEDMAN entitled Frank Gehry's Mideast Peace Plan. It seems that Gehry's take on modernity succeeded where all the world is failing since years. Israelis and Palestinians at the end can agree on something: they hate Gehry's Simon Wiesenthal Museum of Tolerance. They hate this Western cubist cliche of modernity.
Could we one day see the Chinese united in hating Andreu's vision and toring his monument down?
A storm of protests erupted from the Chinese architect community and the project was cancelled.
After many months of silence, the selection committee decided to reaward the contract to the French architect. JIANG Jemin's voice triumphed, Beijing would have its modernist monument.
Witness of all this affair, I put my own idea on paper...
The most amazing came after Paul Andreu's Paris new terminal at Charles de Gaulle crashed unexpectedly only 6 months after its opening. Beijing was sweating, the talk was now all about the calculations of the construction that they had started under Andreu's direction?
But more importantly, how shall their leaders' monument to modernity reflect upon Beijingers and all chinese for that matter? Let's just for an instant imagine what has been Beijing's masters deep motive. Is it proudness of their culture and civilization or is it some sort of deeply burried shame that makes them reject all Chineseness and root for a deeply Western take on modernity?
In the end, should Andreu's selection not be seen as something akin to Jiang jemin dyeing his hair in yellow
The New York Times, of August 1st 2004, had an article by SAMUEL G. FREEDMAN entitled Frank Gehry's Mideast Peace Plan. It seems that Gehry's take on modernity succeeded where all the world is failing since years. Israelis and Palestinians at the end can agree on something: they hate Gehry's Simon Wiesenthal Museum of Tolerance. They hate this Western cubist cliche of modernity.
Could we one day see the Chinese united in hating Andreu's vision and toring his monument down?
2004-08-01
Modern art 8
Vegetable garden. Beijing. Fall 2001
Gouache on paper. 55 x 80 cm.
Gouache on paper. 55 x 80 cm.
CONTENT
In the Western world and the big cities of the developing world, people nowadays eat stuff coming out of tin cans, plastic bags of frozen food and other plastic bags of junk that have been produced in huge agribusiness factories controled by a handfull of multinational corporations. In our area of hyper-industrialism food mutated into an industrial merchandise.
Statistics show us that these last 50 years more and more of us are fattening, they call that rampant obesity. What they don't tell is that such obesity is a direct consequence of daily ingestion of industrial foods. Take a look at the ingredients content that I found on the package of bread and cookies: niacin, thiamin mononitrate, riboflavfin, folic acid, monocalcium phosphate, calcium sulfate, ammonium chloride, erythorbic acid, L-cysteine, ascorbic acid, azodicarbonamide, calcium propionate.
As I see it, obesity is as a collective punishment for the growing distance between ourselves and the origin of what we eat.
Vegetable garden is about my memory of the beauty of gardening when health and beauty were doing fine before the agribusiness fell into the claws of big capital.
Statistics show us that these last 50 years more and more of us are fattening, they call that rampant obesity. What they don't tell is that such obesity is a direct consequence of daily ingestion of industrial foods. Take a look at the ingredients content that I found on the package of bread and cookies: niacin, thiamin mononitrate, riboflavfin, folic acid, monocalcium phosphate, calcium sulfate, ammonium chloride, erythorbic acid, L-cysteine, ascorbic acid, azodicarbonamide, calcium propionate.
As I see it, obesity is as a collective punishment for the growing distance between ourselves and the origin of what we eat.
Vegetable garden is about my memory of the beauty of gardening when health and beauty were doing fine before the agribusiness fell into the claws of big capital.
2004-07-30
Modern art 7
The dragon. Beijing. Fall 2001
Gouache on paper. 55 x 80 cm.
Gouache on paper. 55 x 80 cm.
CONTENT
In Chinese mythology the dragon is the creator. In Western Christian mythology the dragon is a force of destruction. Those interpretations could not be further apart.
The question that thus arises is how can Chinese and Westerners understand each others when the mythologies that they heard of or learned about since early age describe the same things in completely different terms?
I tried to represent the Chinese understanding through my Western eyes "reformed" through my decade and a half immersion in Chinese society. Not much of a destructive force at work here!
As I wrote in depth in my past theoretical posts, I firmly believe that one of the three central determining factors of post-modernism is the death of Western-centricism that accompanies the emergence of the Eastern cultures of 60% of the world population.
Artists can't miss the point, for, if they did they would forever turn in circles of insignificance.
Check this out in the two excellent articles hereunder.
Does The 21st Century Belong To China?
Phillip Dodd is leaving as director of London's Institute of Contemporary Art to focus on Asia. "In my usual pompous way, I have a kind of wager that the 21st century belongs to a constellation of China and India and my deepest feeling is that Britain shows no sign of understanding this. There is a lack of engagement with that part of the world which is just crazy. My real worry is that we spent the past 10 years being so in love with ourselves - that's what Cool Britannia was, like Narcissus - we thought we were the centre of the world. But the world has moved on and we are bewildered." Financial Times 07/27/04
Art in Arab Region
Good article by Samar Farah in ArtsJournal. Always this stupid Westerncentricism:
"""Gallery owners in Syria say that most Western visitors are shocked by the very idea of contemporary art in the Middle East - not to mention works that tackle sexual concepts and newer forms like video and installation art....
Those who do travel to Arab countries usually expect to find nothing more than traditional crafts. They are surprised to stumble, for example, on Samer Kozah's contemporary art gallery on Straight Street in Damascus."""
URL: How To Define Art From Arab Region
In Chinese mythology the dragon is the creator. In Western Christian mythology the dragon is a force of destruction. Those interpretations could not be further apart.
The question that thus arises is how can Chinese and Westerners understand each others when the mythologies that they heard of or learned about since early age describe the same things in completely different terms?
I tried to represent the Chinese understanding through my Western eyes "reformed" through my decade and a half immersion in Chinese society. Not much of a destructive force at work here!
As I wrote in depth in my past theoretical posts, I firmly believe that one of the three central determining factors of post-modernism is the death of Western-centricism that accompanies the emergence of the Eastern cultures of 60% of the world population.
Artists can't miss the point, for, if they did they would forever turn in circles of insignificance.
Check this out in the two excellent articles hereunder.
Does The 21st Century Belong To China?
Phillip Dodd is leaving as director of London's Institute of Contemporary Art to focus on Asia. "In my usual pompous way, I have a kind of wager that the 21st century belongs to a constellation of China and India and my deepest feeling is that Britain shows no sign of understanding this. There is a lack of engagement with that part of the world which is just crazy. My real worry is that we spent the past 10 years being so in love with ourselves - that's what Cool Britannia was, like Narcissus - we thought we were the centre of the world. But the world has moved on and we are bewildered." Financial Times 07/27/04
Art in Arab Region
Good article by Samar Farah in ArtsJournal. Always this stupid Westerncentricism:
"""Gallery owners in Syria say that most Western visitors are shocked by the very idea of contemporary art in the Middle East - not to mention works that tackle sexual concepts and newer forms like video and installation art....
Those who do travel to Arab countries usually expect to find nothing more than traditional crafts. They are surprised to stumble, for example, on Samer Kozah's contemporary art gallery on Straight Street in Damascus."""
URL: How To Define Art From Arab Region
2004-07-29
Modern art 6
Changing wars. Beijing. Fall 2001.
Gouache on paper. 55 x 80 cm.
Gouache on paper. 55 x 80 cm.
CONTENT
Brute physical force has been superseded by what we have learned to call "high tech" gear.
But reality is somewhat more complex.
Humanity evolved into more and more complex systems.
Technology is part of those systems but it has no life of itself, it is used inside the multiple systems that interact together to form our "human societies".
The least we can say is that our understanding, at the start of the 21st century, of the working of those complex systems is "impressionist" at best.
We humans are lost in our multiple theories and don't grasp the whole picture of life anymore.
"Changing wars" is a trial to render our "impressionist" understanding and vision of the reality of 21st century wars.
Brute physical force has been superseded by what we have learned to call "high tech" gear.
But reality is somewhat more complex.
Humanity evolved into more and more complex systems.
Technology is part of those systems but it has no life of itself, it is used inside the multiple systems that interact together to form our "human societies".
The least we can say is that our understanding, at the start of the 21st century, of the working of those complex systems is "impressionist" at best.
We humans are lost in our multiple theories and don't grasp the whole picture of life anymore.
"Changing wars" is a trial to render our "impressionist" understanding and vision of the reality of 21st century wars.
2004-07-28
Modern art 5
The roots of wisdom. Beijing. Fall 2001
Gouache on paper. 55 x 80 cm.
CONTENT.
According to neuro-biologists, we humans should use only 2-3% of the neurons in our brains.
I'm sometimes wondering if those 2-3% of neurons have not gone totally wild and, as a cancer invading the whole body, are not just destroying all activity of the remaining 97-98%..
Something is indeed sick in our behavior and I deeply believe that humanity is in dire need of understanding the global picture of which we are only one pixel instead of zooming always deeper and deeper into the details of that pixel itself.
"The roots of wisdom" is how I see my own quest for knowledge, always hiding from the fads and trends and running from what ends with "ism"...
In the end can't believe that evolution gratified us with those neurons if it was not for our using them. If they really were unused there should be a reason for that. I'am firmly convinced that reality is more profound than what is said about it and thus I believe that one day neuro-biologists will have to revise their claim.
Gouache on paper. 55 x 80 cm.
CONTENT.
According to neuro-biologists, we humans should use only 2-3% of the neurons in our brains.
I'm sometimes wondering if those 2-3% of neurons have not gone totally wild and, as a cancer invading the whole body, are not just destroying all activity of the remaining 97-98%..
Something is indeed sick in our behavior and I deeply believe that humanity is in dire need of understanding the global picture of which we are only one pixel instead of zooming always deeper and deeper into the details of that pixel itself.
"The roots of wisdom" is how I see my own quest for knowledge, always hiding from the fads and trends and running from what ends with "ism"...
In the end can't believe that evolution gratified us with those neurons if it was not for our using them. If they really were unused there should be a reason for that. I'am firmly convinced that reality is more profound than what is said about it and thus I believe that one day neuro-biologists will have to revise their claim.
2004-07-27
Modern art 4
Terry praying. Beijing. Fall 2001
Gouache on paper. 55 x 80 cm.
Gouache on paper. 55 x 80 cm.
CONTENT
My friend Terry is a fervent prayer. I wanted to catch her in a moment of enlightenment. I think praying is kind of bowing in the face of total harmony. Forms and colors, forms, colors.
The great harmony is something objective. The great harmony is what all great religions and philosophies of humankind pointed to. It just can't be deranged, whatever happens in the cosmos, in our personal lives or in our human societies harmony is always resulting... Religious rites have always a functionality, in the case of prayer (religions of the word) or meditation (Eastern approaches) the rite helps the follower having a glimpse of the great harmony.
Disharmony is an impossibility, it is a creation of our egos.
We fabricate disharmony through our desire for material possessions that instill greed, envy, jealousy in our hearts. And thus, all great religions and traditional philosophical systems discourage the desire for material possessions.
As human creations, paintings are subjective renderings and in consequence they are not automatically harmonious. In a painting of whatever style some objective rules apply to reach harmony.
The harmonization of the artist's subjectivity with the objective rules of beauty governing our changing cosmos is what art is all about.
FORM
The first phase of my work is automaticism. This is still very visible in this painting. The blues of the sky have not been reworked, and give a feel of spontaneity. Lines have been added to accentuate the movements.
- The yellow below the sky is hiding what was more blue, only some parts of that blue have been kept to form the first elements of the content developing under the sky.
- Yellow was used to hide some parts further down to the bottom.
-- At that stage, I started to draw lines, taking the opportunity of forms that appeared in the colors and trying to discover a harmonious combination covering the whole page. The content of my work is designed in that stage that I call "making sense'.
- When I succeeded to make sense out of the chaos of colors, I tried to reach color harmony of the complete page. To do so, I restarted working with colors in between the lines till I was satisfied with the harmonic of the page .
- In the last phase I rework the lines to have a clean finish.
My friend Terry is a fervent prayer. I wanted to catch her in a moment of enlightenment. I think praying is kind of bowing in the face of total harmony. Forms and colors, forms, colors.
The great harmony is something objective. The great harmony is what all great religions and philosophies of humankind pointed to. It just can't be deranged, whatever happens in the cosmos, in our personal lives or in our human societies harmony is always resulting... Religious rites have always a functionality, in the case of prayer (religions of the word) or meditation (Eastern approaches) the rite helps the follower having a glimpse of the great harmony.
Disharmony is an impossibility, it is a creation of our egos.
We fabricate disharmony through our desire for material possessions that instill greed, envy, jealousy in our hearts. And thus, all great religions and traditional philosophical systems discourage the desire for material possessions.
As human creations, paintings are subjective renderings and in consequence they are not automatically harmonious. In a painting of whatever style some objective rules apply to reach harmony.
The harmonization of the artist's subjectivity with the objective rules of beauty governing our changing cosmos is what art is all about.
FORM
The first phase of my work is automaticism. This is still very visible in this painting. The blues of the sky have not been reworked, and give a feel of spontaneity. Lines have been added to accentuate the movements.
- The yellow below the sky is hiding what was more blue, only some parts of that blue have been kept to form the first elements of the content developing under the sky.
- Yellow was used to hide some parts further down to the bottom.
-- At that stage, I started to draw lines, taking the opportunity of forms that appeared in the colors and trying to discover a harmonious combination covering the whole page. The content of my work is designed in that stage that I call "making sense'.
- When I succeeded to make sense out of the chaos of colors, I tried to reach color harmony of the complete page. To do so, I restarted working with colors in between the lines till I was satisfied with the harmonic of the page .
- In the last phase I rework the lines to have a clean finish.
2004-07-26
Modern art 3
Approaching thunderstorm. Beijing. Fall 2001
Gouache on paper. 55 x 80 cm.
The memory of a personal feeling as a young Flemish, or is it Walloon, farm boy on the linguistic border between latin and germanic "lebensraumen" when the sky darkens and a thunderstorm assembles over a "Hill Region's" landscape
My last post was about a landscape of the Hill region in Belgium that I painted in 1980. Here is another painted in 2001 in Beijing.
In one go, those 2 landscapes give you a sense of my technical evolution.
2004-07-25
Modern art 2
"Morcelle" Lahamaide. 1980. Belgium.
Oil on wooden panel
Size: 56 x 70 cm (22" x 27.6")
Morcelle is a landscape of the Hill region in Belgium.
Earlier I painted impressionist landscapes, much influenced by Van Gogh and Gauguin. If my memory does not fail me, this is the first landscape where I left behind the image as it is absorbed by the retina, at least partially. If you positioned yourself at the same spot from where I was looking when I made this painting, you would indeed clearly see that the landscape is there in the painting but it is obviously not a realist rendering of that landscape.
What was new for me was to start working in the material and suggest something else than a landscape as for a second reading or as for a second degree observation of the image. The image, a landscape (first degree), becomes a portrait of the observer (second degree). The bottom of the landscape is the port of entry of the observer into the landscape, the view is from one of the windows of my house. Further higher in the painting, somewhere mid height, two houses form the eyes, the mouth is given by a pink slash in the wheat field just under the eyes.
What can't be seen on your display is the third degree of visual representation. For example, the line of the horizon is made of the text of a poem telling about my feelings about this particular environment and some sections of the painting are giving my vision of the spirit in that particular place, the personality of the people living in that place. Popol resting in his garden, Pierrot recluse in his house,...
I made a serie of landscapes in the same approach in 1980. They must be somewhere, here on a wall of someone I have known then, there in an attic or nailed on the wall of a pigeon cage. Who knows, I'm only sure of one thing and that is that I don't have any of these paintings anymore. The image here above is from the only landscape that remained in my possession.
In 1980 I was working on my house and by end of that same year we started the "Brasserie" by which time I had unknowingly embarked on a twenty year frenetic trip that would leave no time for me to play in the colors.
My next paintings will be realized in Beijing in 2001. One of them is a memory landscape of "Morcelle".
Earlier I painted impressionist landscapes, much influenced by Van Gogh and Gauguin. If my memory does not fail me, this is the first landscape where I left behind the image as it is absorbed by the retina, at least partially. If you positioned yourself at the same spot from where I was looking when I made this painting, you would indeed clearly see that the landscape is there in the painting but it is obviously not a realist rendering of that landscape.
What was new for me was to start working in the material and suggest something else than a landscape as for a second reading or as for a second degree observation of the image. The image, a landscape (first degree), becomes a portrait of the observer (second degree). The bottom of the landscape is the port of entry of the observer into the landscape, the view is from one of the windows of my house. Further higher in the painting, somewhere mid height, two houses form the eyes, the mouth is given by a pink slash in the wheat field just under the eyes.
What can't be seen on your display is the third degree of visual representation. For example, the line of the horizon is made of the text of a poem telling about my feelings about this particular environment and some sections of the painting are giving my vision of the spirit in that particular place, the personality of the people living in that place. Popol resting in his garden, Pierrot recluse in his house,...
I made a serie of landscapes in the same approach in 1980. They must be somewhere, here on a wall of someone I have known then, there in an attic or nailed on the wall of a pigeon cage. Who knows, I'm only sure of one thing and that is that I don't have any of these paintings anymore. The image here above is from the only landscape that remained in my possession.
In 1980 I was working on my house and by end of that same year we started the "Brasserie" by which time I had unknowingly embarked on a twenty year frenetic trip that would leave no time for me to play in the colors.
My next paintings will be realized in Beijing in 2001. One of them is a memory landscape of "Morcelle".
2004-07-24
Modern art 1
Observing humanity. Morcelle. 1979
Oil on wood panel
Size: 42 x 58 cm (16.5" x 22.8")
_____________________________________________________________
This post starts the presentation of my personal evolution in over 30 years of painting.
Each of my following posts will give the image of one painting followed by my thinking about that painting.
My plan is to offer images of 50 of my works:
- 2 oils from 1979-1980 realized in Ellezelles, Belgium when I was 28 years old.
- 6 gouaches realized in Beijing, PRC, in 2001.
- 6 tapestries realized in Beijing, PRC, in 2002.
- 6 digitals realized in Waukesha, USA, in 2003.
- 30 acrylics from my "EMERGENCE" collection that I'm realizing presently in Waukesha, USA in 2004.
The title says it all, during those years back in Ellezelles, I was all about observing humanity from a distance. I myself in the world, looking at my friends and my "not so friends after all" in the midst of the furry of human endeavors.
Norbert proselytizing, trying to impose his 'wise man' vision on Jipi, Pierrot, myself and many others. After so many years it should be honestly recognized that we all ended up with our conscience turned upside down and ourselves being in total confusion.
Pierrot is still at it today living as a hermit out of humans' ways and eyes. He still draws and paints and sometimes when I visit him, I buy some of his works. His world is all about ghosts and monsters, he painted his walls full of them and sitting there near his wood stove in winter, fast you have the feeling that the world falls still. I like this feeling sometimes, when nothing is waiting for me, but I can understand that it frightens many.
Jipi did not fare much better who had to recognize that reality was not this preaching after all when one day a guy in a bar decided he could not take it anymore to be labelled a slave and threw a full bottle of bear in his face from afar. He stood out of sight of the world for a few months, ruminating. Later, once we were in another bar in Ghent and for an inexplicable reason, I myself grew suddenly very tired of all this superficiality and told him that I was leaving. He wished to stay longer and I lost trace of Jipi since that very day.
Looking at it from the distance of time, I see myself, trying to keep my sanity and my head in the air all those years, jumping from one undertaking to another as if I was rushed to accomplish something.
First in 1979, I started to build a house with my hands and the help of some friends. In 1980 with other friends I set up "La Brasserie", a "space of freedom" conceived as an opportunity for all to express their artistic creativity. Wow the dream, the art gallery and mostly the bar were working but nowhere did one have, even only once, the opportunity to see artistic creativity in action. Having enough of all that after a couple of years, I went back to the house that I expanded and then having enough of the house, I went straight to the government with the idea to change the reality of our human condition. Wow an even bigger dream. I was writing and preaching to all who wanted to listen about Belgium's public finance fiasco in the making I fast discovered that I was not made for this political cat and dog fight, nobody cared, nobody was interested to listen and I left disgusted by politician and bureaucratic thought. By the end of the eighties, Belgium ended with a public debt representing some 120 percent of its GDP and had to let go the largest chunk of its income toward the payment of interest on this debt at the exclusion of other expenses for services of primary necessity. When the situation had reached that level of absurdity everyone understood the problem and all accepted to try to solve it but this was not knowing the price they should have to pay. After a decade and a half of slashing costs, increasing taxes and fees and terminating services, Belgium's public debt is still worth 110 percent of GDP and the real problem now is that creative, entrepreneurial people are leaving the country for easier lands!
I personally left Belgium for China in 1986.
Today, when I look at this painting, "Observing humanity" from 1979, I can't but conclude that it was a master stroke, a ray of truth about what my life was all about and what I would go through in the years ahead.
Xiaohong is there pre-eminent announcing huge changes in my life to come some 10 years later.
That was about the content.
For those who read my last posts, it should be evident that my style is already marked by automaticism. But to be honest, I was not the least conscientof that at the time .
This painting is one of a serie that I realized during a period of a few months in the autumn and winter of 1979 when I painted with Pierrot. I guess we influenced each other quite much even if we never spoke a word of theory.
Here are some thumbnails of other works of that period. Suffice to say that it's always about the observation of reality.
Unfortunately, I have only 4 works in total remaining from that period.
I never sold one painting but I gave quite many away.
In the maelstrom. Autumn 1979. Ellezelles. Oil on wooden panel.
Jacques Vlemincq. Autumn 1979. Ellezelles. Oil on wooden panel.
2004-07-23
My way of painting (4)
My personal approach in painting has many similarities with Masson's description. More generally, I work in 3 stages:
1. Automatism:
I use this approach on the white surface primarily for reason of keeping the spontaneous in my elaborate working. I find that the act of will in a painting is rigidifying, it lacks what machine work lacks, it lacks the poetry of the spontaneous human intervention, it lacks those small 'mistakes' that the act of will is automatically correcting.
That's about form for form but there is a more essential aspect of automatism and it concerns the content. It's what Leonardo calls 'admirable inventions' in his treatise on painting. When looking intensely at a surface, one always finds small irregularities in the material and the more one looks at those irregularities the more one finds many of them . Those irregularities are Leonardo's 'admirable inventions'. The artist does not create those irregularities, he only interprets them in his own vocabulary, his own mass of referrables (knowledge). If his technique is mature and he does not need to think about technique, the artist can size the patterns of his brain in those irregularities. Each artist has his own tricks. One looks at the material of the color that is deposited on the paper or the canvas to find his brain patterns, another as Miro 'in watercolors would roughen the surface of the paper by rubbing it. Painting over this roughened surface produced curious chance shapes...'. I personally work in the color material and discover there a world that grows by itself. I follow what I discover and I do not impose my will at this stage of the work. In some works, this stage takes 10 minutes, in other works it can take hours and in some other works it can take a few sessions. This is the moment that I express my feelings in the sense employed by Jackson Pollock. I'am not trying to represent something, I just express my feelings in very fast brush gestuals. In the automatism stage I have one session per day for a given work and generally I work simultaneously on a few works. Brushing the colors on the canvas or the paper is a very intensive gestual activity that is pumping much energy. The intensity of energy liberated is, I feel, disruptive of my rational judgement and thus it is important at this stage for me to let things cool down fast. After ignoring for a few days the piece on which I work , I see it in a different light and I then am ready for the second stage of my work.
2. Knowledge imprint.
The second stage of painting is when I try to harmonize the feelings that I expressed in the automatism phase with my knowledge. The paint material and the colors give forms that I follow with a thin brush trying to generate sensical forms. For me this is indeed the stage for making sense out of forms and colors. This I guess is the phase when the knowledge that is accumulated in the brain is imprinting on the canvas. My hand follows where my spirit is attracted and draws the image that emerges. Drawing or painting are freed from the act itself that is somehow executed automatically and are then absorbing my spirit, my thinking, my dreaming. This phase takes somewhere between 15 and 40 hours on average for each work of the TRANSFORMATIONS series. (within a few days I'll start to post copies of my Transformations works) The work is long but time is litterally flying and my spirit is floating around the world as if in a real dream. The work is done when the complete canvas has been integrated in my sense making story. Remains then the last phase, the beautifying of the work.
3. Harmonization.
Beautifying or harmonization is the phase of making absolute sense in term of lines and of colors. The content is firmly established with the second phase. What remains to be done in this third phase, is first finding complete graphic coherence in all the lines and lastly the finishing touches are exclusively reserved for color harmonization. The whole canvas sometimes receives a changed color harmonic but there is no law about colors, that holds its own, out of reaching color harmony over whole the canvas.
I already wrote a few times that I consider paintings are functional objects used for decorating interiors and I feel that an interior should only accommodate finished objects that are decorative and enlightning on a wall.
I indeed have the weakness to think that what appears on our walls reflects on what is going on in our brains, in our lives and in our families and thus I feel that a work of art is somehow sacred. It indeed is a reflection of one's thinking, feeling and worldview.
1. Automatism:
I use this approach on the white surface primarily for reason of keeping the spontaneous in my elaborate working. I find that the act of will in a painting is rigidifying, it lacks what machine work lacks, it lacks the poetry of the spontaneous human intervention, it lacks those small 'mistakes' that the act of will is automatically correcting.
That's about form for form but there is a more essential aspect of automatism and it concerns the content. It's what Leonardo calls 'admirable inventions' in his treatise on painting. When looking intensely at a surface, one always finds small irregularities in the material and the more one looks at those irregularities the more one finds many of them . Those irregularities are Leonardo's 'admirable inventions'. The artist does not create those irregularities, he only interprets them in his own vocabulary, his own mass of referrables (knowledge). If his technique is mature and he does not need to think about technique, the artist can size the patterns of his brain in those irregularities. Each artist has his own tricks. One looks at the material of the color that is deposited on the paper or the canvas to find his brain patterns, another as Miro 'in watercolors would roughen the surface of the paper by rubbing it. Painting over this roughened surface produced curious chance shapes...'. I personally work in the color material and discover there a world that grows by itself. I follow what I discover and I do not impose my will at this stage of the work. In some works, this stage takes 10 minutes, in other works it can take hours and in some other works it can take a few sessions. This is the moment that I express my feelings in the sense employed by Jackson Pollock. I'am not trying to represent something, I just express my feelings in very fast brush gestuals. In the automatism stage I have one session per day for a given work and generally I work simultaneously on a few works. Brushing the colors on the canvas or the paper is a very intensive gestual activity that is pumping much energy. The intensity of energy liberated is, I feel, disruptive of my rational judgement and thus it is important at this stage for me to let things cool down fast. After ignoring for a few days the piece on which I work , I see it in a different light and I then am ready for the second stage of my work.
2. Knowledge imprint.
The second stage of painting is when I try to harmonize the feelings that I expressed in the automatism phase with my knowledge. The paint material and the colors give forms that I follow with a thin brush trying to generate sensical forms. For me this is indeed the stage for making sense out of forms and colors. This I guess is the phase when the knowledge that is accumulated in the brain is imprinting on the canvas. My hand follows where my spirit is attracted and draws the image that emerges. Drawing or painting are freed from the act itself that is somehow executed automatically and are then absorbing my spirit, my thinking, my dreaming. This phase takes somewhere between 15 and 40 hours on average for each work of the TRANSFORMATIONS series. (within a few days I'll start to post copies of my Transformations works) The work is long but time is litterally flying and my spirit is floating around the world as if in a real dream. The work is done when the complete canvas has been integrated in my sense making story. Remains then the last phase, the beautifying of the work.
3. Harmonization.
Beautifying or harmonization is the phase of making absolute sense in term of lines and of colors. The content is firmly established with the second phase. What remains to be done in this third phase, is first finding complete graphic coherence in all the lines and lastly the finishing touches are exclusively reserved for color harmonization. The whole canvas sometimes receives a changed color harmonic but there is no law about colors, that holds its own, out of reaching color harmony over whole the canvas.
I already wrote a few times that I consider paintings are functional objects used for decorating interiors and I feel that an interior should only accommodate finished objects that are decorative and enlightning on a wall.
I indeed have the weakness to think that what appears on our walls reflects on what is going on in our brains, in our lives and in our families and thus I feel that a work of art is somehow sacred. It indeed is a reflection of one's thinking, feeling and worldview.
2004-07-22
My way of painting (3)
Content is central in a work of art and form participates in rendering the content accessible to the viewers. Form is the brush work, the colors, the strokes, in other words, what appears on the canvas that will project on the viewers retina.
A very good realist work, a landscape for example would project from the canvas on the retina and leave the viewer believing that what he sees is a real landscape. But the artist injects something more in the painting, even in a realistic landscape, he projects his own internal disposition, his likes, his feelings about that landscape. That is what differentiates a good painted landscape and a banal photograph. The good photographer does indeed the same as the painter, he injects his internal disposition and thus the good photographer's works are works of art in the same way as paintings are.
The internal disposition that the artist projected in his work has long been the essence of the art work. In Christian times and early modern times, the artist's knowledge was limited to the bible and he was thus limited in his work to two aspects only:
- his technical skills, his virtuosity with the brush.
- the projection of his internal disposition.
The knowledge of the artist was restricted in the same way during the early modern age. The artist was indeed commissioned to execute landscapes, portraits and stills exclusively.
What differentiated the works of different artists in Christian times as well as in the early modern age was thus limited to the same two aspects of technical skills and internal disposition.
With the advent of our late modern age, things change radically. Art works are not commissioned anymore, the artist has now to determine the content of his work on his own. I'm firmly convinced that this very fact constitutes the most important event in all our art history and I'm amazed at how silent our art 'authorities' are on that subject, it's as if this phenomenal event never took place. But artists deeply inside themselves are feeling this change. Here again I have to go back to history to make my point.
Starting around 1850, the most sensitive artists rejected the realist rendering of the 3 traditional subjects (landscapes, portraits and stills). Impressionism, cubism and futurism are typical of this phase. They keep the 3 subjects and they try to work around the classical realist rendering.
Expressionism and surrealism are going one step further. They are searching for something else to represent than the 3 traditional subjects. At its best, expressionism reaches to the soul and renders exclusively the internal disposition of the artist. If expressionism has been particularly strong in Germanic areas, this explains itself by the extremely harsh economic conditions in those lands that impacted on the subjectivity of all sensitive minds in the period immediately following the 1st world war.
Surrealism was consciently thought of as something else than the representation of the 3 traditional subjects. Translated from French, surrealism means something as 'overrealism' or 'more than realism'.
Georgio de Chirico in his 'mystery and creation' writes 'It is most important that we should rid art of all that it has contained of recognizable material to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith.' But the artist lands on such 'absolutely nothing from the logical point of view' that a crisis is unavoidable.
Breton, the most important thinker of the movement recognizes this '... let us not forget that in this epoch it is reality itself that is in question. ... When I know how the grim struggle between the actual and the possible will end, when I have lost all hope of enlarging the field of the real, until now strictly limited, to truly stupefying proportions, when my imagination, recoiling upon itself, can no longer do more than coincide with my memory, I will willingly accord myself, like the others, a few relative satisfactions. I shall then number myself among the “embroiders”, whom I shall have to forgive.'
But this was considered the summit of the ignominious and thus they could not abdicate so easily. This was the time that Freud, Jung and others were examining the workings of the “uncounscient” and their works gave the surrealists the intellectual substance for leaving the first degree image of reality that projects on the retina. They were saved and Breton could write 'The plastic work of art, in order to respond to the undisputed necessity of thoroughly revising all real values, will either refer to a purely interior model or cease to exist. ... I believe in the future transmutation of those two seemingly contradictory states, dream and reality, into a sort of absolute reality, of surreality.' Different approaches were then devised to render the unconscient: automaticism, Dali's “paranoiac-critical activity”, Max Ernst's use of Leonardos “admirable inventions”,... Breton mentions the danger to fall into the absurd but his conviction about the fundamental flaws of traditionalism leaves his brain tranquil. 'Under color of civilization, under the pretext of progress, all that rightly or wrongly may be regarded as fantasy or superstition has been banished from the mind, all uncustomary searching after truth has been proscribed'.
By 1941, Andre Masson wrote “The conquest of the irrational for the irrational is a poor conquest, and the imagination is indeed sad which only associates those elements worn out by dismal reason... Thus surrealism shuts itself into a duality incomparably more dangerous than cubism: - by liberating the psychic menagerie, ... , in order to make it a theme, - by expressing itself by the methods left over from the academics of the preceding century,...”.
Masson's argument was a radical destruction of Dali's approach that he considered intellectually empty and dishonest in the sense that such works were meant exclusively for reason of making money on the market place.
From this critique, he exposes a radical approach of the work of art:
'The tendency to allow oneself to be swamped by things, the ego being no more than the vase which they fill, really only represents a very low degree of knowledge. In the same way, a casual appeal to subterranean powers, the superficial identification with the cosmos, false “primitivism” are only aspecfts of an easy pantheism. Let us repeat the major conditions which the contemporary work of the imagination must fulfill in order to last. ... 1. the intensity of the preliminary thought 2. the freshness of the vision on to the exterior world, 3. the necessity of knowing the pictorial means...'
Masson gives us here a practical method to combine the surrealist approach, automaticism, dreams, admirable inventions,... with existing knowledge and technical skills in order to render the work intelligeable for the exterior world. Foundational here is knowledge, making sense in order to be intelligeable, to possibly be understood.
All citations are taken from Herschel B. Chipp. Theories of modern art. University of California Press.
A very good realist work, a landscape for example would project from the canvas on the retina and leave the viewer believing that what he sees is a real landscape. But the artist injects something more in the painting, even in a realistic landscape, he projects his own internal disposition, his likes, his feelings about that landscape. That is what differentiates a good painted landscape and a banal photograph. The good photographer does indeed the same as the painter, he injects his internal disposition and thus the good photographer's works are works of art in the same way as paintings are.
The internal disposition that the artist projected in his work has long been the essence of the art work. In Christian times and early modern times, the artist's knowledge was limited to the bible and he was thus limited in his work to two aspects only:
- his technical skills, his virtuosity with the brush.
- the projection of his internal disposition.
The knowledge of the artist was restricted in the same way during the early modern age. The artist was indeed commissioned to execute landscapes, portraits and stills exclusively.
What differentiated the works of different artists in Christian times as well as in the early modern age was thus limited to the same two aspects of technical skills and internal disposition.
With the advent of our late modern age, things change radically. Art works are not commissioned anymore, the artist has now to determine the content of his work on his own. I'm firmly convinced that this very fact constitutes the most important event in all our art history and I'm amazed at how silent our art 'authorities' are on that subject, it's as if this phenomenal event never took place. But artists deeply inside themselves are feeling this change. Here again I have to go back to history to make my point.
Starting around 1850, the most sensitive artists rejected the realist rendering of the 3 traditional subjects (landscapes, portraits and stills). Impressionism, cubism and futurism are typical of this phase. They keep the 3 subjects and they try to work around the classical realist rendering.
Expressionism and surrealism are going one step further. They are searching for something else to represent than the 3 traditional subjects. At its best, expressionism reaches to the soul and renders exclusively the internal disposition of the artist. If expressionism has been particularly strong in Germanic areas, this explains itself by the extremely harsh economic conditions in those lands that impacted on the subjectivity of all sensitive minds in the period immediately following the 1st world war.
Surrealism was consciently thought of as something else than the representation of the 3 traditional subjects. Translated from French, surrealism means something as 'overrealism' or 'more than realism'.
Georgio de Chirico in his 'mystery and creation' writes 'It is most important that we should rid art of all that it has contained of recognizable material to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith.' But the artist lands on such 'absolutely nothing from the logical point of view' that a crisis is unavoidable.
Breton, the most important thinker of the movement recognizes this '... let us not forget that in this epoch it is reality itself that is in question. ... When I know how the grim struggle between the actual and the possible will end, when I have lost all hope of enlarging the field of the real, until now strictly limited, to truly stupefying proportions, when my imagination, recoiling upon itself, can no longer do more than coincide with my memory, I will willingly accord myself, like the others, a few relative satisfactions. I shall then number myself among the “embroiders”, whom I shall have to forgive.'
But this was considered the summit of the ignominious and thus they could not abdicate so easily. This was the time that Freud, Jung and others were examining the workings of the “uncounscient” and their works gave the surrealists the intellectual substance for leaving the first degree image of reality that projects on the retina. They were saved and Breton could write 'The plastic work of art, in order to respond to the undisputed necessity of thoroughly revising all real values, will either refer to a purely interior model or cease to exist. ... I believe in the future transmutation of those two seemingly contradictory states, dream and reality, into a sort of absolute reality, of surreality.' Different approaches were then devised to render the unconscient: automaticism, Dali's “paranoiac-critical activity”, Max Ernst's use of Leonardos “admirable inventions”,... Breton mentions the danger to fall into the absurd but his conviction about the fundamental flaws of traditionalism leaves his brain tranquil. 'Under color of civilization, under the pretext of progress, all that rightly or wrongly may be regarded as fantasy or superstition has been banished from the mind, all uncustomary searching after truth has been proscribed'.
By 1941, Andre Masson wrote “The conquest of the irrational for the irrational is a poor conquest, and the imagination is indeed sad which only associates those elements worn out by dismal reason... Thus surrealism shuts itself into a duality incomparably more dangerous than cubism: - by liberating the psychic menagerie, ... , in order to make it a theme, - by expressing itself by the methods left over from the academics of the preceding century,...”.
Masson's argument was a radical destruction of Dali's approach that he considered intellectually empty and dishonest in the sense that such works were meant exclusively for reason of making money on the market place.
From this critique, he exposes a radical approach of the work of art:
'The tendency to allow oneself to be swamped by things, the ego being no more than the vase which they fill, really only represents a very low degree of knowledge. In the same way, a casual appeal to subterranean powers, the superficial identification with the cosmos, false “primitivism” are only aspecfts of an easy pantheism. Let us repeat the major conditions which the contemporary work of the imagination must fulfill in order to last. ... 1. the intensity of the preliminary thought 2. the freshness of the vision on to the exterior world, 3. the necessity of knowing the pictorial means...'
Masson gives us here a practical method to combine the surrealist approach, automaticism, dreams, admirable inventions,... with existing knowledge and technical skills in order to render the work intelligeable for the exterior world. Foundational here is knowledge, making sense in order to be intelligeable, to possibly be understood.
All citations are taken from Herschel B. Chipp. Theories of modern art. University of California Press.
2004-07-20
My way of painting (2)
I personally agree with Kandinsky that ' ... form is the outer expression of the inner content. Therefore, one should not make a deity of form. ' (All my citations are from Herschel B. Chipp. Theories of modern art. University of California Press.)
The resonance of the artist's inner content with his time is what will generate the form of his art work. In other words the art form is somehow generated automatically when the artist's ideas are in sink with his time. Thus the necessary precedence of the content of the art work, the content is indeed the essence of the art work.
In this lies the fundamental difference in the contemporary approach of the visual arts with the realism of traditional times. Before, form had to bend to the accepted reality. Form was assumed to be derived from the subject of the work, it was thus dependent on the 'no-brainer' first degree image reflected upon the retina. Twentieth century artists rejected this assumption and tried to define a new approach.
In the past, I mean in early modern times, the first degree image on the retina was the imposed content of visual arts and submitted artists toiled to reproduce this image on the canvas. The intellect of the artist was discouraged. Today, it is assumed that each and everyone should make the best use of his intellect and visual artists struggled to reconcile the first degree image on their retina with the use of their intellect. But this was an impossible task, the intellect can't be constrained by such a narrow perception as the first degree image on the retina. That has been the dilemma of the impressionists, the expressionists, the cubists, the futurists and the surrealists. They never were able to quit this first degree image on the retina for a higher plane. To reach this higher plane, the intellect has to be let loose in order for it to flourish. But then how to let the intellect derive a visual form out of its activity?
Artists struggled with this question for all of the twentieth century and an accepted answer has still not been found.
It is my own assumption that form should not be derived from content but that content should be derived out of form. In other words, I think that the artist's culture and knowledge should be let to flourish freely out of visual forms. I believe that this is the only way to reconcile the intellect with artistic forms.
If we agree upon this idea of the precedence of content in an art work then we recognize that one content is not equal with another content. Content is relative. The ideas of the artist appear in his feelings and are thus expressed on the canvas through the automaticism of his expression. But his ideas are not necessarily the same then another artist's ideas, thus the relativity and when we speak about relativity we speak about judgment. Every individual judges but the judgments of different individuals generally do not coincide. So then whose judgment do we speak about in relation to the content of an art work? Or is there a way out to give all individuals a sort of viewing key that could lead them to judge less subjectively?
First, we have to clarify what is being judged, what are the parameters of the judment. If history is a good reference then we see that the content of art works that resist the realm of time always made sense out of the period in which they were created. In other words, those works expressed the 'Zeitgeist' of their period, they indicated how the future worldview was shaped in that present.
In animist societies, the content that is represented is what preoccupies all the individuals, food, sex, the sky and so on. In the times of the gods, the religious message is central and in initial modern times, the house and the landscape where one lives are giving its centrality to the new idea of ownership. So what do we find in later modern times and in our present day reality that is really shaping our societies?
Is there one central theme or could there be multiple themes?
I firmly believe that there is one central theme and it is 'how does our universe function'. Not only the universe far away, the macro view of the universe but also the micro view, the view of the infinitely small. So the question of our times, at least this is what I think, is how does our universe work from the infinitely small to the infinitely large and what is our personal place in all that. I believe that the central question that best characterizes our times for most of the individuals is 'how do I fit in all that'.
Starting with the idea of knowledge, we know for a sure fact that the most advanced scientific undertakings are in the field of the sciences of complexity. How does life start? Is it a godly creation or is it spontaneous emergence under specific conditions?
My views are derived from the conclusions reached by contemporary scientists and also from the study of the civilizational building blocks in Europe and principally in China. As I already stated earlier, contemporary rationality seems to fuse with traditional Chinese wisdom. What is considered central in the principle of reality is change with no start nor end, no good nor bad, only the change from one state to another state, from one moment to the next moment.
The 'Tao Te Qing' conceives of the sky and the earth as the combination, the ordering of an infinity of elements (ten thousand things) derived out of chaos. Once order is established, the sky and the earth are entering a non ending dance of changes that directly impacts on humans' lives. Let's relate this to astronomical studies and the ten thousand things become the elements of change following the big bang, their combination and ordering taking place along the 13.7 billion following years.
Life itself is then perceived as a gradual process of change starting some 4 billion years ago with the spontaneous emergence of unicellular organisms. The search for more complexity that is inscribed in the program of all cells (genes) leads then those unicellular organisms, over the following one billion years, to combine together to give multi-cellular organisms. The next steps of evolution then lead to ever more deeper levels of complexity to reach some 100,000 years ago the human form with its present day characteristics.
Religious believers doubt this presentation and ask about what comes before the big bang. Seeing that science is without any hard fact as of today about what came before the big bang, they conclude that god must have been the originator. But it is not because science, today is still without any hard observations about what came before the big bang that it will not tomorrow succeed to grasp such observations. Suffice for now to notice that traditional Chinese wisdom is not without answers. In this vision, the big bang is only the start of our universe following the moment of maximum concentration of all the energy that follows the implosion of matter in the universe that preceded. Our present universe is still expanding and will continue to to so till it uses all the energy liberated by the big bang. At that moment it will start to shrink till the maximal implosion of all matter into the highest concentration of energy that is bound to explode creating a new starting universe and so on.
Following this reasoning, we reach the conclusion that our universe follows a circular movement corresponding to the cycles of matter expansion and energy concentration. A cycle that appears strangely similar in form with the cycles of change described by the Yi Ching and the movement from the Yin polarity to the Yang polarity and back to Yin and so on.
Visually I see an unending spiraling life, life being the principal of change itself.
The cosmos follows one spiral but the 'ten thousand things' within the cosmos follow each a similar spiral and thus what I see now are ten thousand spirals within one huge unit that is the spiral of the universe.
That's the background of my painting, my visual perception of reality. In the foreground comes life near us.
The resonance of the artist's inner content with his time is what will generate the form of his art work. In other words the art form is somehow generated automatically when the artist's ideas are in sink with his time. Thus the necessary precedence of the content of the art work, the content is indeed the essence of the art work.
In this lies the fundamental difference in the contemporary approach of the visual arts with the realism of traditional times. Before, form had to bend to the accepted reality. Form was assumed to be derived from the subject of the work, it was thus dependent on the 'no-brainer' first degree image reflected upon the retina. Twentieth century artists rejected this assumption and tried to define a new approach.
In the past, I mean in early modern times, the first degree image on the retina was the imposed content of visual arts and submitted artists toiled to reproduce this image on the canvas. The intellect of the artist was discouraged. Today, it is assumed that each and everyone should make the best use of his intellect and visual artists struggled to reconcile the first degree image on their retina with the use of their intellect. But this was an impossible task, the intellect can't be constrained by such a narrow perception as the first degree image on the retina. That has been the dilemma of the impressionists, the expressionists, the cubists, the futurists and the surrealists. They never were able to quit this first degree image on the retina for a higher plane. To reach this higher plane, the intellect has to be let loose in order for it to flourish. But then how to let the intellect derive a visual form out of its activity?
Artists struggled with this question for all of the twentieth century and an accepted answer has still not been found.
It is my own assumption that form should not be derived from content but that content should be derived out of form. In other words, I think that the artist's culture and knowledge should be let to flourish freely out of visual forms. I believe that this is the only way to reconcile the intellect with artistic forms.
If we agree upon this idea of the precedence of content in an art work then we recognize that one content is not equal with another content. Content is relative. The ideas of the artist appear in his feelings and are thus expressed on the canvas through the automaticism of his expression. But his ideas are not necessarily the same then another artist's ideas, thus the relativity and when we speak about relativity we speak about judgment. Every individual judges but the judgments of different individuals generally do not coincide. So then whose judgment do we speak about in relation to the content of an art work? Or is there a way out to give all individuals a sort of viewing key that could lead them to judge less subjectively?
First, we have to clarify what is being judged, what are the parameters of the judment. If history is a good reference then we see that the content of art works that resist the realm of time always made sense out of the period in which they were created. In other words, those works expressed the 'Zeitgeist' of their period, they indicated how the future worldview was shaped in that present.
In animist societies, the content that is represented is what preoccupies all the individuals, food, sex, the sky and so on. In the times of the gods, the religious message is central and in initial modern times, the house and the landscape where one lives are giving its centrality to the new idea of ownership. So what do we find in later modern times and in our present day reality that is really shaping our societies?
Is there one central theme or could there be multiple themes?
I firmly believe that there is one central theme and it is 'how does our universe function'. Not only the universe far away, the macro view of the universe but also the micro view, the view of the infinitely small. So the question of our times, at least this is what I think, is how does our universe work from the infinitely small to the infinitely large and what is our personal place in all that. I believe that the central question that best characterizes our times for most of the individuals is 'how do I fit in all that'.
Starting with the idea of knowledge, we know for a sure fact that the most advanced scientific undertakings are in the field of the sciences of complexity. How does life start? Is it a godly creation or is it spontaneous emergence under specific conditions?
My views are derived from the conclusions reached by contemporary scientists and also from the study of the civilizational building blocks in Europe and principally in China. As I already stated earlier, contemporary rationality seems to fuse with traditional Chinese wisdom. What is considered central in the principle of reality is change with no start nor end, no good nor bad, only the change from one state to another state, from one moment to the next moment.
The 'Tao Te Qing' conceives of the sky and the earth as the combination, the ordering of an infinity of elements (ten thousand things) derived out of chaos. Once order is established, the sky and the earth are entering a non ending dance of changes that directly impacts on humans' lives. Let's relate this to astronomical studies and the ten thousand things become the elements of change following the big bang, their combination and ordering taking place along the 13.7 billion following years.
Life itself is then perceived as a gradual process of change starting some 4 billion years ago with the spontaneous emergence of unicellular organisms. The search for more complexity that is inscribed in the program of all cells (genes) leads then those unicellular organisms, over the following one billion years, to combine together to give multi-cellular organisms. The next steps of evolution then lead to ever more deeper levels of complexity to reach some 100,000 years ago the human form with its present day characteristics.
Religious believers doubt this presentation and ask about what comes before the big bang. Seeing that science is without any hard fact as of today about what came before the big bang, they conclude that god must have been the originator. But it is not because science, today is still without any hard observations about what came before the big bang that it will not tomorrow succeed to grasp such observations. Suffice for now to notice that traditional Chinese wisdom is not without answers. In this vision, the big bang is only the start of our universe following the moment of maximum concentration of all the energy that follows the implosion of matter in the universe that preceded. Our present universe is still expanding and will continue to to so till it uses all the energy liberated by the big bang. At that moment it will start to shrink till the maximal implosion of all matter into the highest concentration of energy that is bound to explode creating a new starting universe and so on.
Following this reasoning, we reach the conclusion that our universe follows a circular movement corresponding to the cycles of matter expansion and energy concentration. A cycle that appears strangely similar in form with the cycles of change described by the Yi Ching and the movement from the Yin polarity to the Yang polarity and back to Yin and so on.
Visually I see an unending spiraling life, life being the principal of change itself.
The cosmos follows one spiral but the 'ten thousand things' within the cosmos follow each a similar spiral and thus what I see now are ten thousand spirals within one huge unit that is the spiral of the universe.
That's the background of my painting, my visual perception of reality. In the foreground comes life near us.
2004-07-19
My way of painting (1)
The following table summarizes my personal approach towards painting.
I do not give this as a ready method for all to use but I hope that its content will help me and also the reader to clarify his our understanding of what will follow.
| The subject of art >>>> | The form of painting >>>> | Art in society |
|---|---|---|
| The artist is part of his society and the artist's role is to create sense out of reality for his society. (how our future worldview is shaping in the present) | The first stage of creation: Automaticism = the expression of one's feelings. | Everyone is enriching his society through his actions. |
| The artist makes sense out of reality from his own level of understanding. | The second stage of creation: making sense out of what has resulted from the automatic expression of feelings = the harmonization of feelings with knowledge. | The substance of artists' creations belongs to the commons. (society at large) and should thus be absolutely free of usage by all individuals. |
| Gaining general knowledge is central in the artist's life. The better his knowledge = the deeper the subjects of his works. | The third stage of creation: the harmonization of colors and lines = the embellishment of the work of art. | The materiality of the work of art created by an artist is the artit's personal ownership. This is what feeds the artist. |
What will follow in the next days will be more personal than my past posts. It will be about my own way of painting.
In one or two posts, I'll first introduce you to the theories behind my ways and then in each of my new posts I'll introduce you one of my last acrylics with photo and text. In total I plan to introduce 30 works.
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