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13 JULY

SLIDESHOW  13 JULY

My art makes the invisible visible.
Always near/er to the (he)art of Creation,
 
but never close enough, yet....
See my interview here
 
http://sacreativenetwork.co.za/2012/06/in-depth-chat-with-inspiring-painter-ulrich-de-balbian

The human mind treats smaller paintings as if it is looking AT an object or a thing such as a table or chair ,
 but larger works are experienced (like installations) as if one  is part of them and participate in them.
Now that you know this please do not treat these images as if they
 are just more objects or things you look AT,
but experience and participate in them.

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Someone mentioned this in reaction to two of my paintings - (my response follows his statement) -

The vertical one in particular reminds me of the lemniscate/infinity symbol -- http://en.wikipedia.org/wiki/Infinity_symbol#Infinity_symbol
 
On a physical level, the body is filled with crossover networks.  Chakras are about some of this in an expressive way.  They can be mapped and felt.  (You already know that if there's a stroke on the left side of the brain the right side of the body will feel its effects most deeply.)  Both of these paints have qualities of the point where the crossing over between two forces is manifested.

--

thought of other paintings and the crossover points /Marks
 
and this one from a few days ago.
 
many artists, thousands, in online art groups liked it
 
I always wonder if someone really knows, understands why a certain painting 'touches' or hits one? I don't mean the obvious reasons such as colors, forms etc - but deeper, psychological ones



--------------------------- my statement -
P, really fascinating article -  I liked the ancient Greek idea that it /infinity cannot be expressed as number or  in mathematics, and approached it philosophical.

Boundedness, infinite etc is VERY crucial in painting -

especially boundedness by  space - the support = canvas etc - one paints or draws on. Artists tried to overcome  or transform this restriction of the space one is presented with to paint, draw on - in different ways.

Traditional/realistic painting had the infinity of perspective.

--
But there is much more than the boundedness and restriction by the support one works on than perspective=perception's restriction.

-

I realize this and worked on it in many approaches. I try to work two dimensionally and not to try and imitate or create the 3D of traditional/realistic art.

In this context I combat the problem of space, boundedness by the support and reaching out to unboundedness and infinity.

--

I expressed it like this for fellow painters in blogs, sites etc -

this might give a hint at what I mean -

painters combat with and  structure, restructure and transform space ;

composers and music battle and deal with time;

while other media such as films, tv, video, novels, poetry , etc

involve both time and space.

--

My above statement of coure assumes that the individual is aware that human thinking and the concepts we create and use are space-time restricted and structured.

-

Now bring God, Jesus as man and God, the notions of infinite and finite etc - into this-

and you begin to see WHAT the painter combats with when he paints and is restricted, bounded by the space of his support.

The painting concerned is number fb337  (in this slideshows or Google for it). I wrote this about the work:

I once saw an ancient Orthodox fresco of " the Son of God". is this the "face of God as man?".

--

I wrote this about the works fb 340 to 350 .  I painted a smaller work then attach it to the surface of a larger support. Then I extend the painting on the larger surface.  I often set myself problems in color , form, composition, technique and attempt to solve it, deal with it or work my way through or round them.

This is why I  never merely continue working in one way or one 'style', but always bracket the ways I worked at and attempt to explore new ways of working - thus the New Styles, no styles - notion concerning my way of working.

---

The painter combats with space, and traditional/realistic work dealt with it by perspective and other solutions. I choose to work two dimensionally and thus deals with space in other ways.

The painter structures., re-structures and transforms SPACE;

while composers and music deal with TIME and attempt to structure that;

tv, films, video, novels, poetry, etc deal with both space and time.

-

Ulrich; 3rd August, 2012.


13JULY



I wrote this





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