If
the process of painting begins with individual units, it moves towards a
structured wholeness which accumulates and projects its interiority as a living
organism. In order to be able to understand the inseparable fusion of an
expanding awareness with the act of painting itself, we tend to seperate such
units into shape, colour and form as experienced by the viewer. Here we must
differentiate between at least two ways the artist operates – one that is
intellectual and conscious, and the other which is articulated through emotion
– and both of which are bound together within the creative process despite
their duality.
If
we consider form to be the conscious arrangement of interior content then we
are referring to the aspect of pictorial space, but if we consider colour to be
the primary means and material of painting which dematerialises the structured
form into emotion and experience, then its particular characteristic of
immanence refers to the pictorial field.
I
think of pictorial space as somewhere to construct, where problems are solved
in a conscious way, whereas the impulse within the pictorial field directs me
toward emotion and intuition, and especially so in the articulation of colour:
the way it belongs to the body of the form, the way it liberates, the way it
simply does what it wants. For these reasons I consider it vital to
differentiate between conscious and immanent processes within painting, to differentiate
everything else from what isgoing on in the background, and to acknowledge the
distant source of unconscious, or some other sensation fromabove, or below.
Uros Paternu ©2001. Untitled, Acrylic on canvas, 80x100 cm
Paintinngs©Uros Paternu
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