It
is clear from the introduction that it is the painter himself who is implied by
the duality of implicit viewer and the author: he is director of the fragments
which originate along with the entire scape of interior elements, and he directs
proceedings toward the reorganised articulation of the image field.
On
one hand this relationship is the result of an understanding of Modernist
painting and a painter's devotion to history; on the other its process means
that different data keeps building up into reciprocal unity on the stage of the
host-canvas, and that both the possibility, the reason and the means present
themselves so that they may perform their meaning as actors and transmit their
interior impulses toward the present moment.
The
movement of perception from painting to viewer proceeds dualistically as
'atmospheric' perception, and 'mentally censored' perception; between the
higher principle of imagination – the associative grasp of imagery by theviewer
– and the process of cross-matching data: a kind of intellect-as-perception.
This dualistically tangled relationship is what binds up the viewer immanence
and temporality throughout the process of perception.
It
follows on that image is read rationally, whereas colour is experienced. A
painting requires to be read as information-data that is as closely in parallel
as possible to its interior drama – and to achieve this the viewer must be
'in-between', in an empty space that is implied by the in-betweeness of the
picture itself. As it stands before the viewer, a painting must demand the
viewer's attention, and slow down or erase his mental process. A painting needs
to interrupt time and create its own special moment as an invitation to
insight, or as a meditative interlude.
Copyright©Uros Paternu
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