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Introduction

A few words about the artist 'ULRICH'.

 Doctor Ulrich de Balbian (who has French, German and British nationality) trained and lectured in the traditions of a number of different world faiths (for example Shingon Buddhism, . He studied a number of academic disciplines, including social sciences, humanities, arts, philosophy, theology, mathematics, etc, and obtained two doctorates. He published more than fifteen books in philosophy, theology and humanities, as well as a number of articles. In philosophy he is especially interested in ontology and epistemology and the reductionist trend of 'sociologism' (reductionism of all 'knowledge and cognition to socio-cultural factors and  earth- and anthropo-centrism rather than universe/multiverse-centrism), in theology, in mystical theology or spirituality (of the different traditions), and specifically in prayer and the mystical or secret tradition of the 'unity experience' (Union with the Godheit or theosis for Christianity, realization of the Real or Universal Self for Vedanta, enlightenment for Buddhism, Union with the Beloved for Sufism, etc). He has been living for several decades as a contemplative solitary or hermit. Initially part time (when he worked as researcher, educator, academic) and finally since the age of forty, full time.
As far as art and painting is concerned, he intentionally chose to paint, and has done so for a number of decades, rather than follow any of the more short lived contemporary 'art' fashions, such as performance 'art', installations, etc. To understand his RESEARCH (as he views his work) better, the approaches of certain aspects of the Bauhaus tradition, Paul Klee, Kandinsky. Monet and the French impressionists and some expressionists will be helpful. He works non-figuratively, by choice, as he thinks that painting, regardless of the fact if it represents more realistic objects (such people, fauna, flora, buildings, landscapes, etc), more abstract objects or is non-figurative, employs certain techniques (or codes) from the painting discourse (and its different traditions),  or the entire process of painting or 'creation' of an artwork, form, colour, composition, etc.
His work can be found in a number of countries. He does not employ art galleries, as he sees them as forming part of the art industry, and its inevitable exploitation of art, and the evaluation of and reduction of art to monetary values. To purchase one of his works an individual should approach his agent by email. The agent will then assess that the person is serious about art, the discourse of art and a particular painting or a few paintings. If a positive assessment results the person will be invited to few those paintings and a price for the work/s will be agreed upon, depending on the means of the intending buyer.

NB:  OF EXTREME IMPORTANCE WHEN VIEWING THE PAINTINGS:

How to look at my , or any, work of art -

 

from ART STUFF November, 2011

1. The Formal Framework - Visual analysis - Technique - Style - Symbolism and metaphor.

2. The Personal Framework - Reflects the artists life - Links to other aspects which may relate to the artists life.

3. The Cultural Framework - The influences of time and place - Connections to contexts and cultural purposes.

4. The Contemporary Framework - Exploring contemporary issues.



The artist DEMANDS that the viewer, MUST LEARN to try and forget all prior conceptions of painting,

and what and how a painting must or should  be like.

We, or rather our minds and brains are lazy all the time, and perceive and think in terms of very narrow pre-conceptions,
we must learn how to perceive both familiar and new objects or phenomena.
We must re-train our minds and brains, not to perceive something in terms of  assumptions, narrow ideas and pre-conceptions - so that our vision, our ways of viewing and thinking about phenomena can be liberated

and will develop - all the time.

We must learn to perceive EVERY phenomenon, afresh in/as the PRESENT ARISING moment,
and not merely project prior ideas upon it,
or interpret it in terms of existing notions we have about  any cultural practice and discourse, art, painting, a work of art, etc.

In this manner every artist re-educate our way of viewing a work of art, and eventually all phenomena -
and that in a NON- and PRE-Conceptual manner (just like all Pure Awareness or Direct Consciousness).

For more about (developing such a ) direct or pure awareness and consciousness, a book such as that of Moller de la Rouviere's 'Spirituality without god' could be 'read', or rather the exercises he suggests can be worked through. This title can be purchased at Amazon.com and be seen on his website. Google for his name and Spiritual Humanism.

Thinking ABOUT phenomena (be it a painting, an object like a flower, God, a film, a book, a loved one, etc) is very different from directly and personally experiencing these phenomena.

The artist does not use recognizable realistic objects (such as fauna, flora, a flower, building, a person, landscapes, a still life, etc) - as our brains and minds are lazy and merely project existing ideas and images on things we experience when we are confrronted with such recognizable objects. By refraining from representing such recognizable objects in his paintings, the artist obliges us to try and perceive in new ways, if we were to make any sense or obtain any meaning from his experimental work.



The paintings are here much reduced so as to fit on to the monitor,

focus in on details of a painting so as to be able to perceive the many, minute details in

technique, colo(u)r, etc,

read the painting first in general,

then view it over and over analytically, bit by bit,

then again view it holistically,

etc.

This is how one learns to perceive a painting ,

and perhaps any object, and all phenomena
(by direct, personal exploration) and

always in a new way. And, by such active interaction the 'viewer', might just become directly and
personally involved with the work of art, and in this process become transformed. Or, at least some of his/her (pre-conceptual)'structures of perception' in general and more specifically aesthetic 'structures' of perception, thinking and reasoning might be modified.

We are used to perceive and interact with  things not as they are, but in terms of some prior (mind set and frame of reference that were )  uncritically received (internalized and socialized)  socio-cultural idea/s we have of them; and by means of socio-cultural norms of how to perceive, respond to and interact with phenomena in general, and different types of objects (such as a person, animal, buildings, landscapes, fauna, art objects,  etc) in particular, by means of such (socio-cultural and subcultural) pre-conceived modes and structures of cognition, perception, conceptualization, etc.
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