Pretty Rectangular
I'm pretty confused where „I“ end and where the „Painting“ starts.
My visual thoughts become apart of theirs, the paintings‘ identities. Therefore, to a certain degree these thoughts belong to both parties.The painting becomes an individual. As I paraphrase that “a painting is also a human being”. I think about painting quite peculiarly. Above all, the main theme is more imaginative than just the visual. Painting is quite a vast media for expression, not only a flat rectangle. How a painter influences painting and how a painting influences the painter? The eternal correlation between the author and its creation.
Recently I am referring to a painting as a personage. Not quite as someone with body parts (a bit), but as a powerful visual character capable to communicate in the unmeasured levels of imagination.
There’s always more than meets the eye. I do not create when i feel all fine and dandy. I wait. Creativity and concentration comes with an urge when it is meant to visualise something important for this moment, and this moment becomes eternal. The dialogue between a problem and a solution becomes creative. Every painting is an interpretation of an issue or a question.
My first rule is “never underestimate the viewer”. I seek to be respectful with every living being that will encounter or come in contact with my painting. I let the visual alter and reshape their core until I feel strong about it. This shapeshifting takes part until it’s molded to be ready for the World and the Viewer.
I am deeply guided by Maurice Merleau-Ponty‘s thought about gifted vision of a Painter: “The eye sees the world, and what it would need to be a painting, sees what keeps a painting from being itself, sees—on the palette—the colors awaited by the painting, and sees, once it is done, the painting that answers to all these inadequacies just as it sees the paintings of others as other answers to other inadequacies.” (from Maurice Merleau-Ponty “Eye and Mind”)
I believe that the paintings which success in creating a dialogue with a person, or even provoke discussions among humans – those might be the missing pieces of the World. In some cases they might be meant to trigger our settled minds. Painting at it’s finest might even mean everything and nothing at once. Something abstract, like time travelling or embarking on a journey to uninhabitable island. Our mind explodes with joy and stops worrying about our daily chores when we are contemplating the painting which is powerful enough to connect with you and visualise the answers. We all are in the search for that one painting. I believe that they find each other in time.
I'm pretty confused where „I“ end and where the „Painting“ starts.
My visual thoughts become apart of theirs, the paintings‘ identities. Therefore, to a certain degree these thoughts belong to both parties.The painting becomes an individual. As I paraphrase that “a painting is also a human being”. I think about painting quite peculiarly. Above all, the main theme is more imaginative than just the visual. Painting is quite a vast media for expression, not only a flat rectangle. How a painter influences painting and how a painting influences the painter? The eternal correlation between the author and its creation.
Recently I am referring to a painting as a personage. Not quite as someone with body parts (a bit), but as a powerful visual character capable to communicate in the unmeasured levels of imagination.
There’s always more than meets the eye. I do not create when i feel all fine and dandy. I wait. Creativity and concentration comes with an urge when it is meant to visualise something important for this moment, and this moment becomes eternal. The dialogue between a problem and a solution becomes creative. Every painting is an interpretation of an issue or a question.
My first rule is “never underestimate the viewer”. I seek to be respectful with every living being that will encounter or come in contact with my painting. I let the visual alter and reshape their core until I feel strong about it. This shapeshifting takes part until it’s molded to be ready for the World and the Viewer.
I am deeply guided by Maurice Merleau-Ponty‘s thought about gifted vision of a Painter: “The eye sees the world, and what it would need to be a painting, sees what keeps a painting from being itself, sees—on the palette—the colors awaited by the painting, and sees, once it is done, the painting that answers to all these inadequacies just as it sees the paintings of others as other answers to other inadequacies.” (from Maurice Merleau-Ponty “Eye and Mind”)
I believe that the paintings which success in creating a dialogue with a person, or even provoke discussions among humans – those might be the missing pieces of the World. In some cases they might be meant to trigger our settled minds. Painting at it’s finest might even mean everything and nothing at once. Something abstract, like time travelling or embarking on a journey to uninhabitable island. Our mind explodes with joy and stops worrying about our daily chores when we are contemplating the painting which is powerful enough to connect with you and visualise the answers. We all are in the search for that one painting. I believe that they find each other in time.