one of 50 videos of my work on YOU TUBE
always closer to the
(he)art of creation
― Mary Oliver
Paintings tend towards 'unity'
All painting almost automatically tend towards some kind of 'unity' within the confines or boundaries of the support (supports are mostly rectangular).. This unity can be strong , successful or meaningful, or weaker, unsuccessful and bordering on disunity.
I have attempted to prevent this unity ('harmony', wholeness of composition) from occurring. In exploring this I tried a number of things, for example by creating two, or more, unrelated 'scenes' or independent, unrelated paintings within one support. This was unsuccessful as a unity or whole was still produced - even though it was weak, a very bad composition, etc. In other words, whatever phenomena are placed within the confines or boundaries of the support tended towards forming a unity.
I tried to stretch and continue (aspects of) a painting over or outside the confines of a single support. Did this succeed in preventing the unity from occurring? I do not know. One would have to view the result to judge this. One way in which I did this was the following - I took a box with four sides, flattened out the four sides and the top and bottom. I created an unrelated painting on each of the four sides. was their no unity in that (the four sides) what was produced? One would have to view the result to judge it.
Then I created fouir unrelated paintings , one on each of the s four sides of the box and I continued a certain line in a certain colour over all four sides. Was a lack of unity or total disunity created? Again, one would have to view the result to judge it.
My question remains this: is there no way in which one can overcome the tendency of producing a general unity within the confines of a single support and/or a painting (paintings) that continue over more than one support?
The reason why I wish to prevent this unity from occurring is because to me it appears extremely simplistic, a primitive tendency of human perception.
kc34. all four sides and the top and bottom of one painting - in an attempt to destroy the tendency of a work on one support to create unity. The creation of unity (composition, 'harmony') as one of the fundamental or primitive mechanisms of human visual perception