Inspiration, role it plays in re-enchantment of the Arts

Inspiration plays an important role in re- enchatment of the Arts.

 

In writing this post, I am using few presupposed and self evident truths about the current state of the Arts.

One, is the need for re-enchantment of the Art.

I have taken this term from Suzi Gablik’s book by the same name where she criticises some of the basic tenets of the Modernist movement that led directly to much of the confusion left by the Postmodernism. Part of this confusion left the artist without a philosophical background needed to establish a basis for relevant correspondences between the personal and the universal principles of creation. At the same time this lack of philosophical support opened a gap in communication between the artist and his audience.

Second, is the need for Inspiration as vital source of revitalization of the current confused condition of the Art. The extreme relativism of the late Post-modernism has left a scorched field where the traditional values of excellence have been replaced by purely personal, anecdotal and many times accidental views that left the Art without it’s Muse .

Inspiration according to full definition of Merriam- Webster dictionary is: “a divine influence or action on a person believed to qualify him or her to receive and communicate sacred revelation “In other words, an inspired person is one who is touched by his Spirit. That sacred part of his being that communicated the feeling of the Devine.This kind of definition tends toward somewhat religious interpretation which I believe tend to distort the real meaning of Inspiration as a direct heart felt feeling that is totally natural to all of humankind and not only to artists.

I have many sources of Inspiration. 

Some come from my daily observations of life around me. Be it an interesting form of simple objects that can turn into a still-life drawing,like this Moroccan tea pot done with silverpoint technique.

Moroccan tea pot
silverpoint drawing of Moroccan tea pot

 

Someone’s face that draws me to paint a portrait,

 

Daniel the gardener
Daniel the devoted gardener

 

a corner of a street that becomes a cityscape,

city scape
Cityscape, Work in progress

 

landscapes

 

landscape of rhythm
rhythmic landscape

 

 

Then of course there are the great masters of Art from all periods in Art history.
When I was still a student in the Avni Institute of Art in Tel Aviv, I did a small scale study of The Rape of the Daughters of Leucippus by Peter Paul Rubens.

after rubens
after Rubens

 

In the beginning of my artistic development I was enchanted by the magic of Jan Vermeer’s intimate interiors with their delicate balance of composition and the luminosity of his colors.
Here is a composition that was influenced by the Vermeer’s Young Woman with a Water Pitcher

vermeer in middle east
Vermeer in Middle East

 

Another great influence on my development as an artist is a more contemporary American Andrew Wyeth who’s hunting and mystical connection with landscapes of rural Maine and Pennsylvania resonates strongly with my own view of Nature. Wyeth’s choice of the tempera medium which requires contemplation and slow visual meditation on the subject matter, invites from the viewer equally slow contemplative viewing. In today’s hasty world it is in itself a huge accomplishment.

church in ruins
Church in ruins

 

With time, my themes have varied and mutated according to context, time and places I have found myself.

At certain point I have found that many of my themes tend to converge into one recurring theme that has accompanied my creative work and that is the theme of the cafe.

 

I have found that besides a great opportunity to exercise my powers of observation, this theme of the cafe, allows me to combine all other themes in a very simple, elegant way where the spontaneous interaction of all the forms untie to create a unified and sometimes totally unexpected message.

The theme of the cafe is enough in itself and need no other justifications for painting it but as it happens, it has the power to combine a wide variety of objects and themes that seamlessly fuse into each other allowing the mundane everyday objects to interact and create a whole new possibilities for flowing in different artistic directions.

Let’s say, a couple sitting around a table, with a dog playing at their feet, with some messy still-life on the table, with cups of coffee and perhaps some food, in the background. I can paste any landscape or cityscape that doesn’t even have to be in the original composition. This way I can eliminate accidental architecture or replace any other object that feels more meaningful and more appropriate for the final purpose .

In this age of photoshop aid with the cut and paste ability, I can substitute any and all of the components to create a more meaningful and more interesting composition then the original conception.

All these themes and objects, appearing in the context of a cycle of creativity that is inspired by a wheel of The Five Elements taken from the Chinese Wu Xing theory.
On this wheel of creativity taken from the Chinese philosophy of Dao i will write later in a different post

 

Marshall McLuhan and the paradigm shift in Art

ladder
the ladder

Once in a while I tend to experiment with digital medium.

I find it especially useful on the go for some quick visual notations that keep me alert for the beauty of the ordinary forms that surround us.

I mean, it is not always very practical to pull out your watercolor gear when waiting for a bus or in line in post office. True, I could pull out my sketchbook which is always ready in my bag pack and do some quick pencil sketches but I find that the wide range of options allowed by the digital applications that can be used with any smartphone today is truly exiting and besides, is a great fun.

Interestingly enough, the advent of the touch screens and the use of the fingers to smear directly on the painting surface has brought back that wonderful feeling from childhood when we were allowed to smear our paint with abandon without worrying about results. At least for those of us who were lucky enough to be allowed or even encouraged by the adults in charge which many times was exactly the opposite.

Of course, there is a big difference in the tactile feel when smearing real paint onto a paper or a canvass but there are definite advantages in messing around with digital paint and still keeping our hands and clothes clean.
As far as I am aware, the artificial controversy around the digital versus real painting is almost over but frankly I do not follow it very closely. I believe this debate is somewhat misplaced in that it is a superficial dichotomy between the “real” and the virtual.

Personally, I rely on the Buddhist world view that makes no distinction between the two and view all reality as a virtual construct flowing from the projections of Mind.

I know that some of my colleague artists, of my generation, still have a great disdain towards anything that is digital and virtual.

Anything that requires a different look at the very concept of what is art, how it is made and what is the role of art in the new digital age which is upon us, makes them feel uncomfortable and defensive about the traditional ways of making art.

There is nothing wrong of course in the traditional, classical mediums of expressions but it is becoming increasingly difficult to ignore the implications of the fact that our cultural context has moved into an era where the medium has become the message with all it’s implications.

The medium is the message.

It is not my intent here in this short post to go into lengthly explanations of this term coined by Marshall McLuhan but I do think that it is worth exploring his ideas about the role of the

artist in the new digital culture we all live in.

In Robert K. Logan’s book on Marshall McLuhan’s immense contribution to our understanding of our day digital culture, there is a chapter about the way McLuhan saw the role of the artist in our society.Here is a quote from that book:

Whereas the ordinary person seeks security by numbing his perceptions against the impact of new experience, the artist delights in this novelty and instinctively creates situations that both reveal it and compensate for it.

The artist studies the distortion of sensory life produced by the new environmental programming and tends to create artistic situations that correct the sensory bias and derangement brought about by the new form.

In social terms the artist can be regarded as a navigator who gives adequate compass bearings in spite of magnetic deflection of the needle by the changing play of forces.

So understood, the artist is not a peddler of ideas or lofty experiences. He is rather the indispensable aid to action and reflection alike.”

My interpretation of this statement is that most serious artists in all times have always took advantage of the changing environment with introduction of new technology.
I am sure there were many artists who didn’t embrace the new medium of oil painting at the time and in fact there was a transitional period between medieval tempera technique into the new medium of oil painting.

I can personally envision a time in not too distant future where artists will be using three dimensional screens like the ones in Steven Spielberg’s film, “ Minority Report “ where Tom Cruise is shifting trough vast amount of data moving three dimensional screens with hand gestures.

Tome Cruise in Minority Report
Tome Cruise in Minority Report

 

As much of the science fiction anticipates future scientific developments so is the technology that was used in this film is apparently is already available and in use in some specific industries.

Imagine an artist in his studio standing in front of these kind of virtual canvasses using unlimited virtual color pallets based on frequencies of light instead of muddy pigments with creating shimmering images of beauty that radiate light from inside adjusting themselves to the different light conditions, independent of outside light source.
I know that many artists will understandably argue here that nothing can replace the “real” feel of “ real” paint as it is mixed on the palette and applied with “ real” brushes.
I believe this argument is based on lack of information and imagination as to the ability of the technology to supplement the touch and feel of our tactile senses.
Again, this technology is already here in early development stages but as we already know, the pace of advancement of this kind of research is usually surpasses the ability of most people to comprehend the incredible speed with which the results of the research roll out of the lab into the everyday use. Remember the shock of unveiling of the iPhone touch screen by Steve Jobs?

To counter this shock and disorientation caused by the new technologies is precisely where the McLuhan’s teachings can be very helpful for the artists in transition to creating in the Global Village. Given the fact that most of McLuhan;s concepts are presented in a non linear jazz like fashion it is not an easy task to decipher the meaning from his revolutionary ideas some of which quite prophetic in anticipating the age where most people on Earth will be connected everywhere, all the time.

The many implications resulting from such a condition can be quite disturbing for many artists that are still cling to by now obsolete world view in which making art is still tied up with clear distinction between the figure and the ground.

Since we live now in the age of total connectivity and instant communication, this kind of separation and clear cut division is obviously not possible anymore and there is a great advantage for artists that can make this shift in consciousness to include both figure and ground in the context of making art that is more then just repetition of the past ideas and visions.

To quote McLuhan once more :

Art at it’s most significant is a Distant Early Warning System that can always be relied on to tell the old culture what is beginning to happen to it. (McLuhan 1969)

The serious artist is the only person able to encounter technology with impunity, just because he is an expert aware of the changes in sense perception. (mcLuhan 1964,33)”

Looking from a bird’s eye view over the procession of many art forms of the past, it is obvious that Art is tied up with the culture and the norms of the time creating the different mannerisms which we later call the history of art. At the same time we can see just how non linear this progression is.

The cave art of Altamira is not that different in style and eloquence of expression from that of Matisse in spite of being separated in time by some eighteen thousand years .

This mean that our sense perceptions do not change so much in time in spite of a constant expansion of consciousness and this is what I believe that McLuhan has meant when describing the artist as an agent of and early warning system who’s understanding of the World is acquired trough sense perceptions that are at the same time are concepts no less reliable then that of a scientist or a philosopher.

In conclusion, I would like to say that I hope that traditional techniques of doing art will always persist along with the newer experimentations of digital and virtual art emphasizing the importance of inspiration and creativity over trite and banality.

In this age of great cynicism in the Arts with money replacing artistic value, it is important to articulate the new paradigms that would provide the basis for true appreciation of the Arts allowing artists to extract themselves from marginalization and exploitation by culture gone mad with greed.


Finding true place and balance between Divine Providence and Luck

Tomorrow night is a New Year evening and it is a great time for some retrospective general account of what happened in 2015.

I think that without exaggerating much, it was an amazing year marking a very dramatic turning point in my life and I believe in my art as well.

The summer of 2014 was a culminating point for my decision to sell my apartment in Tel Aviv and move to live in Budapest. Since it is a general bird view account, I will not enter into the specific details of all the reasons for making such a drastic decision.

Perhaps mentioning just a few will be enough to give some background and perspective.

Feeling fed up with living in a region with constant high level of violence and wars was one.
The idea of having to put up with an endless cycles of aggression coming from one side with a following retribution from another side has reached it’s limit in innermost being.Standing in front of my easel in my studio in Tel Aviv , trying to concentrate on making art while the sirens warning of a missile attack coming from the south, leaving only few minutes to run for shelter, broke trough my denials related to the need for the constant sacrifice demanded by living in such a place.
Once the denials have come up to the surface it become clearer that along with the constant violence there comes a heavy price tag based on constant reliance on the fight and flight mechanism of the reptilian brain. The constant concern about the need for security in the region ridden with violence, do not leave much place for activating the more humane portion of the  limbic brain that is needed for cultivating imagination, inspiration and all other requirements for making art that comes from inner peace of mind.

Moving away from Middle East, I have embarked on a few months of exploration of an alternative place, finding myself in the beautiful region of lake Como in northern Italy, sketching outdoors , soaking my eyes in the majestic beauty of the mountains with all the little lovely villages spread around the lake like little gems, with endless vistas for great compositions.

 

departing from Bellagio to Varenna on Lake Como.

on the ferry to Varenna
Bellagio

After spending some time in the beautiful village of Varenna, I have realised that it was too touristic for me as place to spend the rest of my life and decided to move on with my search for that place that  is sitting on a historic power point, allowing convergence of natural beauty with rich cultural life . With all due respect for picturesque little villages such as Varenna, they usually luck the depth of a bustling centre with rich cultural life with enough chaos to allow for fermentation of art that is more then depicting natural beauty.
The fact that I have found such convergence in Budapest was due to combination of pure luck with a dash of Divine Providence.
I make a distinction between the two even though they might seem to be the same .
In my opinion, we encounter luck when we able to cultivate an attitude of courtship towards Divine Providence.
As an artist I believe that it is not much different from an attitude of a constant openness for the appearance of the Muse.

Inspiration comes when we keep ourselves on alert for the magic in everyday life.
When life is a flow of little moments of wonder and gratitude for the what seems to be the obvious but with a deeper introspection are filled with grandeur and awe.
My meeting with Eva was a moment of magic that has determined the direction of the flow to the region of my birth place and early childhood.
In spite of the fact that I was born on the border of Hungary in the Carpathian region of west Ukraine and the fact that my childhood years were influenced very much by the Hungarian culture, Budapest was not an obvious choice from the beginning if my journey.
It was only after I met Eva that it became clear that everything what I was looking for in a place to live could be found in a place like Budapest. Amazing natural beauty, rich cultural life, deep historical roots and people with natural warmth who’s language I could understand because of my own heritage and childhood roots.
With Eva’s appearance in my life, the obviousness of the choice of Budapest has become very clear in spite of the fact that no place on Earth today can offer everything and no place is a complete paradise as we live in times of great turmoil and constant strife that comes with the transitioning from the dying World order with obsolete ideas of control into a New Era of dynamic equilibrium required to balance the new principles of sustainability with an opening towards a new vision of Earth as a living Gaia full of magic and love.
With the excitement of finding my true mate, my true place came some personal health issues that required my opening to the fragility of life and the need to balance the great changes and find a pace of living that is much calmer and restful .
At the same time the exciting journey of exploration focusing on the new patterns of life have opened new possibilities that have started to appear in my art with a better flow of creativity that comes when inspiration meets right time with right place.

I am still in a process of transition and there are many old patterns that are still hard to get rid of, especially those that are connected to the deep seated fears connected to the flight and fight reptilian brain patterns,  but it is becoming clearer that the new year that starts tomorrow night will be a year of many new beginnings that will deepen and stabilise the transition into the new life.
Happy New Year .

Sketching in cafes after the Paris terror attack

 

About a year ago I have escaped or so I thought,the war zone of Middle East only to find that terrorism doesn’t confine itself to one region anymore.
As I was sketching this French couple in the cozy atmosphere of my regular place, I had some thoughts on how creativity and art are influenced by hard times and wars.

the French couple
the French couple

 

Maybe they came for the weekend to escape the aftershock of the Paris terror attack two weeks ago.

The fact that cafes have become a target for terrorists attacks, gives my sketching in the cafes a sort of additional dimension of danger almost as being in a front line. I am joking of course but still, the fact that popular and crowded places have turned into a possible target all over the world, creates a heightened sense of tension adding a feel of urgency and danger to otherwise a very benign activity.

My approach to working in cafes as a meeting ground for a diverse and sometimes absurd happening representing the fragmented World in which content got badly skewed out of it’s context got an additional boost from the fact that terrorists find the cafe a legitimate target for their violence.

I find solace in the fact that many artist in the past have created their best work during times of extreme tension and war. One of such artists is Jan Vermeer of Delft who created his masterful works during one of the worst periods in Dutch history, following the Franco-Dutch war.

geographer
The Geographer

 

It is true that Vermeer was not oblivious to the suffering and destruction around him caused by extreme economic hardships and has died quite suddenly after a short illness but the fact remains that some of the greatest art was produced during such an extreme circumstances, gives some strength and hope that it is possible to create beauty even in the middle of chaos and hardship.

To tsu or not to tsu

andrassyBudapest
Andrassy ut Budapest

I got a link yesterday from my son Zohar about the new social network called Tsu which is supposed to be the next big thing on the Internet, promising to compensate the users for sharing their content.

I have been lamenting for years about the lack of fairness in the complete lack of revenue distribution on all the social networks, using our content for free. What would Facebook or Youtube be without our content?
It is true that it takes a lot of resources, expertise and money to build a reliable working platform and the founders of these networks are totally entitled to make a descent profit from their initial investment. Here is Amanda Blain explaining beautifully and concisely why Tsu is a scam and why those big social platforms that make all that money are actually deserve it.
And yet  there is total contradiction between the internal message of a social network that is based on the premise of a free cooperative community of friends, family and people who share interesting and innovative content and the huge money hungry corporations that have grown from all this activity of ours.
There seems to be a considerable hype on the Internet right now around this new fastest growing social network and it is apparently too early to conclude if indeed it will become yet another Ponzi scheme as some critics like Amanda Blain are predicting or perhaps it will become the next revolution in the way we share our content on the net.
Here is a little more balanced voice of Neal Schaffer that seems to be fairly cautious and yet quite optimistic about the possibilities offered by Tsu.
So, to all of you my dear friends who would like to experiment and try out this opportunity with me, use your own discretion look around and judge for yourself. Who knows, maybe we will be the early adopters of the next huge evolution of the social networks?
Here is a link if you feel adventurous enough to join me on tsu.

 

Commission Art as opposed to free independent Art

tabor
Tibor

I have been doing commission art for many years now and it has always been  a concern of mine wether it has the same validity as the art that is done with an artists free will .
Today’s post is about the difference between working on your own free concepts as opposed to doing a commissioned work.

The whole concept of working without a commission as a free agent I think is relatively a very new thing and historically,art was created mainly in a context of some sort of a commission. Think of all the great work of the masters of the past. The Night Watch by Rembrandt,

The Night Watch by Rembrandt
The Night Watch by Rembrandt

 

 

The Sistine Chapel by Michelangelo,

The Sistine Chapel by Michelangelo
The Sistine Chapel by Michelangelo

 

or The Last Supper by Leonardo Da Vinci..

thelastsupper
The Last Supper by Leonardo Da Vinci

There is of course numerous other great examples with all their great stories of saintly patrons, greedy artists and the history of the commissioned works that withstood the ravages of time.
No doubt, independent works of art have appeared from the earliest of times and were always part of many artists free expressions but it was not until the Romanticist period that the arts gained full freedom to pursue their true unique vision based on individual inspiration emphasising originality and innovations opposed to the more socially oriented Classicist periods.
In a way, doing a work in consideration of a clients demand as in a commissioned portrait for example is somewhat contradictory to the concept of an independent work of art that obeys no prescribed rules of conventions and the real challenge is finding the middle path between the two approaches.
In my own commissioned work I always try to emphasise the need for greatest amount of freedom for individual interpretation related to style and composition. Many times there is a definite contradiction between the conception of the client and that of the artist, creating a tension that can result in breach of trust and aborted work.
To avoid such result there is an absolute need to negotiate right from the beginning the terms and conditions, explaining the limits of the expectations and demands of a client that many times believe that by commissioning a work they have bought the right to control the result. Obviously, the paying client does have a right to a certain amount of intervention but it has to be pointed out right from the beginning that since the original idea for the commission came from the impulse to have a work of a certain artist’s style, this fact must be respected and be allowed to come to full expression, accepting a certain amount of deviation from the clients vision.
Ideally, an end result of a  commissioned work  should be something that gives both sides a feeling of accomplishment and fulfilment of both the client and the artists vision.

 

 

The Sound of Form

 



fullswingenergy
full swing energy


Sketching with live music has become a practice I enjoy tremendously.

My recent exhibit at If Cafe in Budapest included many works that were done during live jazz sessions . Sketching with the music allowing the eye and the hand to flow with rhythm ha s evolved from simple attempt to compensate for the fact that in many occasions it is not really possible to dance and move the body in a concert situations.

This is really a pity, especially when it comes to energetic music that makes it unbearable to sit motionlessly and just watch. Tapping along with the rhythm is just not enough.

The practice of sketching with live music requires letting go of making nice art and concentrating on the flow and taping into the general energy created by the music itself, expressions of the musicians, the general feel of the place and subtle suggestions generated by the interactions between the formal values of the music itself and what I came to call the sound of form. The sound of form is the sound you hear with your eyes, I know it may sound absurd as we usually associate hearing with ears but what I am referring to is closely associated with chromesthesia which is a specific form synesthesia.

drummer
the drummer

It takes some practise to listen to objects with your eyes and of course I could simply use the term observation or even contemplation but it is all of that and a little more.

pianomagic
piano magic

Maybe, active contemplation is the appropriate concept here that has a meditative quality about it. The act of drawing, painting from observation is the sure way to develop the sense of hearing with our eyes. There are basically two ways to practice active contemplation trough the art of painting. One is the traditional way associated with the classical approach to drawing using the familiar ways of measuring proportions angles evolving the use of linear perspective. The other is the more intuitive, direct approach advocated by the great art teacher Kimon Nicolaides in his famous book laid out in “ The Natural Way To Draw.”

By mastering the art of gesture drawing one can quickly understand what I mean by the Sound of Form.

quartet
quartet

The end of summer

 

lacibaciadmirer
Laci baci admirer
 
August is ending and I am back at my favorite cafe. It is bloody hot in Budapest makes me wish I would be somewhere in Alaska.It was a very busy summer with continuation of renovations of our apartment, visiting Viena , making arrangements for the arrival of my son , vacationing with family in Montenegro 

   

vacationinginmontenegro
vacationing in montenegro
 and preparing for the end of my two months exhibit in If Jazz Cafe. For one reason or another, August tends to be a very busy month in my life. Maybe it has something to do with the fact that I was born in this month.
Looking forward for the arrival of Autumn.

What can be learned from sketching in cafe.

 

sketching in cafe
sketching in cafe

Apart from the sheer pleasure of doing it, here are some of my observations after doing it for quite few years.

Eye -hand coordination

First and foremost, I would say that sketching generally and not only in cafe has a very beneficial influence on gathering confidence trough proficiency with a gradual enhancement of eye-hand  coordination .This coordination is the very heart of being able to concentrate on the Whole Form before going into the specific details.

The Whole is larger then the sum of it’s parts and preceding them in appearance.

This basic gestalt principle is where many of the art teaching of the past with the emphasis on the realistic-academic drawing went wrong for very long time and it is still used unfortunately to this day by many followers of the academic training.

There is nothing wrong of course in mastering the tools of a good craftsmanship but the usual approach of the academic teaching emphasising , right proportions and “correct” angles by following the obsolete system of linear perspective is everything but the reality of how human eye looks at the world.  The great revolution of the 20th century in Art, with the advent of Cubistic perception of the World has finally released us from the confines of the Brunelleschi’s perspective and I believe the illuminating concepts of the great British painter David Hockney hold a great significance in the way he interprets the Cubist approach to looking at the world.
In his memorable photo collages he shows how we actually look at the world from different points of view, scanning our visual field utilising much more then just one, two or three vanishing points.
In this short video Hockney shows why the old traditional view of the Brunelleschi’s era is not only wrong but actually makes no sense in theological sense as well.
So another great benefit of sketching the ever changing moods and subtle movements of people in cafe is allowing to focus on the whole rather then the details.
Many of the beginning students in my cafe sketching classes have great difficulties in giving up trying to construct the figures from the usual linear approach but once they are able to let go  and the gesture is grasped, the Whole emerges with details fall in they right place.

model1

 

student sketching in cafe
student sketching in cafe

 

It doesn’t matter what is the choice of the medium. Be it watercolour, pencil, charcoal, crayons or any combination of all of the above. With any medium, the main thing is being able to concentrate on the theme, which can be anything from a way someone holds a cup of coffee in their hand, a face that has something telling about it,  a general gesture or something more abstract like an animated conversation between two or more people.

Many times there is a group of people interacting with each other and it can be a real challenge to find the central focal point that captures the individual movements and at the same time gives a sense of a whole.

people in cafe
people in cafe

 

One of the well known paintings on this theme is the masterpiece Luncheon of the Boating Party by Pierre-August Renoir.

Pierre-Auguste_Renoir_-_Luncheon_of_the_Boating_Party_-_Google_Art_Project

I am using this great work of art as an example in spite of the fact that I personally do not like Renoir’s style of painting .This is perhaps the only painting by Renoir that is not totally boring in his usually excessive sweetness of colours.
There are many articles and books written about this specific painting so I will not go into interpretation of the meaning  but here we have a nice illustration of the theme of group of people in a casual interaction with each other in the context of a cafe held together by brilliant composition in which the table with it’s magnificent still life is the common ground from which the individual figures emerge and unified.
Renoir apparently didn’t use any sketches for this composition, so in my opinion it was done either from one or several photographs
There is usually not much talk about this issue of the Impressionists use of photographic images in their work but there is much evidence for it in much research on the subject.
I haven’t found any evidence for my speculation about Renoir using photograph for this particular painting but I think it is not too much to assume that if most of the artists did use it then why would be Renoir the only exception.
I personally do to think it matters much for the fact that it is a great painting  and obviously neither Renoir’s not any other famous painters greatness is diminished by the fact of their use of then available photographic equipment. All I try to establish here is the fact that by using sketches and gestures we can get away from the limited one point perspective and thus get closer to breaking the barrier between the felt and the purely optical.

 

Archetypes in Art

 

st janos sculpture
St’ Janos sculpture

St John or Szent Janos sculpture at Mechwart Liget in my neighbourhood.

In my daily sketch practice, usually in a local cafe which serves as an ongoing exercise routine practicing my art, I try to find the balance point between the personal individual expression and the more universal point of reference.

The interlacing of the personal and the more universal points of view, ignite my inspiration and gives a direction and validity to the work of art. Be it a simple watercolour sketch or something that requires a longer contemplation and work.

In my previous post yesterday, I have mentioned two focal points that give a work of art a validity of a unique creation.

One is the Tathata. The Buddhist concept of suchness.

Because of the illusive nature of this concept I will refer to it on different occasion with the hope of not boring you too much,my dear readers.

The second is the Archetype.

In fact, both points are included in the Tathata but for the purpose of clarification I prefer to make a distinction between the two.

I believe that the  traditional Western way of thinking, with it’s emphasis on objects as the main focus of observation is gradually beginning to integrate the Eastern, more process oriented thinking, allowing for a better grasp of the concept of an object that is at the same time a process.

A summer breeze moving in the filed of golden wheat in a painting by Van Gogh or the loneliness expressed by the chair in his room.

 

 

Wheat field by Vincent Van Gogh
Wheat field ,Vincent Van Gogh

 

 

vincent-van-gogh-paintings-from-the-yellow-house
A chair with a pipe by Vincent Van Gogh

 

These, of course are only two examples of a vast choice of great art but they show clearly how objects could include not only patterns and processes but at the same time reveal the personality and the feelings of their creator.