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n contemporary cultural practices (the arts, sciences,. humanities, theology, etc) we no longer merely follow existing codes of our different discourses (for example that of visual art and more specifically the genre of painting, or philosophy and more specifically the areas of ontology and epistemology). No, we explore the underlying principles ( the transcendentals  or that what underlie, go before or the pre-suppostions on which a discourse is based, for example  the assumptions it makes about a number of things) of these different discourses. These transcendentals or undrlying principles determine the world, the life world or reality of each discourse and how it constructs that reality (for example the reality of visual art). These are the phenomena or things that the visual artist are concerned with, explore, transform, analyse, deconstruct and reconstruct. That is the REASON why painting (as a genre of visual art) concerns itself with all what occur on the surface (as well as the nature of the surface itself) of the support. In other words,  painting being concerned with the surface of the support is not merely a superficial activity as in this process (of explorative or experimental painting) everything that underlie (that are pre-conceived, assumed and pre-supposed by) painting (or the tradition of the cultural practice of painting, its norms, codes, ideals, values, etc) are identified, explored, analysed, developed, transformed and reconstructed.


when the artist, as the mother gave birth to the painting, it left his/her hands, his mind and his soul, it no longer is his/her property but it becomes a part of culture - the mystery is now given to the public (something like it is said God gave his sone to the world, to us, or Buddha his insights), to all -

to explore, relive, perceive, interpret, destroy (like one woman urinated on a CY Twombly), recreate, wrestle with trying to comprehend, to dream about, to be carried away by, to love , to hate (just like the children given birth to by a human mother can be loved, hated, tortured, imprisoned, maltreated, viewed as kings, queens, princesses, worshiped , adored, killed, enthroned)-

please world treat our children - paintings we give birth to - gently, like you want us to treat your own human babies, thanks, ulrich


  • Agnieszka Kukawska Yes, it is the image....But all what viewers of Art can absorb from the paintings ( visual values, ...texture, colors, techniques...) make our Art more special. Contemplating Art or even one piece of Art take more time then... I love it! Time can stop...See More
  • Ulrich de Balbian painting (unlike films, videos, and music) does not deal wiuth a specific time (like scenes in a filsm develops and changes), opainting deals only with space - the space of the support. But in a painting there is no time, no past, no present, no future, in a painting there is past, present and future ALL AT ONCE - thus a opainting is timeless, infiinite. Music structures, deconstruct and transforms TIME (films, videos, novels poetry do that with both time and space), a painting structures, explores, deconstruct and transform SPACE (not time, a painting is both and at the samwe time all time and no time = timeless, eternal, infinite as time is concerned). Agmnieszaka I AGREE with you, with what you said. although at first sight, in a too quick reading of what Iw rite, it might not seem as if I agree with what you say. Photos do the same as paintings,,,ulrich
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    could it be said that the pioneers of contemporary painting:

     is very much concerned with the exploration of the surface of the support (textures, how paint and colours are applied, etc)?
     They no longer treat the surface as merely secondary, simply as a tool or medium to represent something else

    - the surface is the image
    From a professor in the USA

    This is the rest of the story within the sacred space.  Each aspect of this gives rise to its own sense of completion and balance.  Ying and yang.