Abstract Art & Abstract Paintings

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    smothered the thoughts, emotions, or efforts of the artist, but could not quite articulate the problem

    I was sensing at the time. I discovered later, that this mechanism of controlling thought through

    teaching, was only one of the elements in our society, which inherently brings about the

    suppression of the arts that stifles the creative impulses of the artists at the expense of the whole

    culture.

    Artists are often "accused" of having their heads up in the clouds, and living within an unreal worldof imagination. This brings about the necessity of taking a good and thorough look at just how

    reality bites. Plowing through several fields of study in search of a tool to measure the aesthetics

    and the creation processes can leave us empty handed, until we splurge into the field of

    philosophy to examine our thoughts and reasoning.

    THE ART OF THINKING AND REASONING

    Thinking and reasoning is a social activity for most people. They require the engagement of

    external forces as the individual is as much a part of society as the society is a part of the

    individual. From the moment of birth, the social labyrinth of customs, beliefs, languages, values,

    religions, politics, and other traditional ideas are all well positioned to mold the child into the image

    of those who the child is surrounded with, and it is thoroughly based upon faith and belief. So

    masterfully the operation is instilled into the society as social heredity that even science has often

    mistaken it as being genetic.

    English philosopher and author Francis Bacon (1561-1626), and another English philosopher and

    mathematician Issac Newton (1642-1727), and others have developed ways of thinking and

    reasoning that requires a fact in order to be proven must be measured, sensed or experienced.

    And when we thrust this into the realm of mind and spirit we find our willingness reduced inaccepting facts based upon faith or belief.

    For this reason, in appreciating life, and creating anything within it such as art, looking for answers

    and solutions exterior to our own sentient qualities, intellects or experiences is to lose concept of

    our own truth, values and individuality. And the artist, very often, bears the brunt of this philosophy

    of "independent thinking" and frequently subjected to criticism by those who have a firm grip on

    the traditions of status quo.

    But the artist moves on, knowing where the roots of criticism lie, and reasons that people whoresort to "criticism" operate in the absence of true understanding, and since no knowledge can

    exist in the absence of understanding, there we arrive at the presence of "ignorance." Thus,

    knowing the basis and the mechanism behind criticism, often serves as a tremendous source of

    empowerment and consolation for the artist to continue with his art on the grounds of certainty and

    knowledge of her art and transcend through the highest echelons of culture called: aesthetics!

    Bacon had come to the conclusion that no field of study by itself is sufficient in the absence of

    another form of discipline exterior to it to align and coordinate it in the direction of its goal. We can

    elaborate further that it is not possible to walk a path aright in the absence of defining its

    destination. Therefore, to stay clear off the grounds of myths, mysticism and superficial

    approaches, we can take a look and see how the arts can be best served by defining its goal

    under the broad umbrella of philosophy that embraces all the arts, sciences and humanities.

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    Just as it is impossible to have a full view of a countryside by sitting on one of its boulders under a

    tree, every field of endeavor, to be fully understood, must be viewed and analyzed from a ground

    much higher than where it germinates. Thus, in the field of visual art's, we cannot look at an

    abstract painting's isolated data out of context without a consideration of its existence within the

    scope of a life that contains the art. Bacon say, that would be to use a candle to light a room that is

    illuminated with daylight.

    ART IS COMMUNICATION

    We all enjoy and desire a pleasant conversation with our associates, friends and family. But when

    we look, and inspect our environment, we notice that the great majority of our population, have

    difficulty with communication. A two way communication takes place, when we can freely initiate

    our thoughts or ideas to one another, acknowledge each other and continue this interaction, back

    and forth, by continuing with the sharing of our thoughts and ideas, very much similar to a friendly

    game of tennis; where the return of the ball, is dependent upon the quality of the serve.

    There are times when we notice a break in communication, when either one of the parties, in its

    turn, fails to acknowledge and originate a thought or an impulse back, to continue with the

    conversation, or to bring about an optimum conclusion.

    The people having these difficulties with origination, are generally accustomed to prepackaged

    amusements, such as a weather disaster, or an incident or story relayed by a coworker. They get

    very low on originating communication on their own, inspired by their own imagination; and they

    become somewhat vexed, when faced with an "imaginative conversationalist." This is either

    through their upbringing and cultural environment, or their education.

    Origination is very important to bring about a communication. To this degree, these people

    communicate mainly regarding subjects that are handed to them by external sources. They see a

    news story, they talk about it; they get a call about a family affair, they talk about it. They wait for

    an exterior circumstance to bring about an interaction, otherwise they do not engage by "creating"

    a communication. They either have a compulsively irresistible urge toward doing something, or

    inhibited and behave awkward and unnatural in communicating. If they manage to engage, they

    often turn sharply, towards derailment of the dialogue, and bring about a good degree of

    resentment, ill will and unwanted conclusions.

    The people who do not originate, or do not engage imaginatively, are inherently dependent upon

    others to give them primal reasons to engage in a conversation; this is due to being endowed with

    very little imagination. As a result, we can conclude, that a pleasant and engaging conversation,

    requires the participation of two imaginative minds, with similar endowment of creative impulses,

    to mutually create the art of communication.

    The field of visual arts, follows the same principles, as art is a form of visual communication. The

    artist originates his communication as s visual message, through the presentation of his art, to his

    audience. The quality, and the presence of this initiative that he forwards in his art, forms the

    visual message, that he delivers to his audience; the quality of which, determine the response of

    his audience, to whether engage or not. Hence, arts much similar to personal dialogues and

    conversations, follow the same basic principles of communication, in its success or failure

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    An artist with low imagination, who does not originate verbally, does not communicate visually

    either. He originates no visual messages in his art, or when he does, it is so scarcely done, that it

    stirs up no interaction with his audience. This absence of expression, is mainly due to the artist

    heavy reliance upon the origination of the audience - as an external force - to brings about a

    communication, in the direction of his art, which is "silent." Thus, no emotional interaction takes

    place between the audience and the painting.

    An artist, high on imagination, is more likely to enjoy the virtuosity necessary in the technical

    execution of his art. Thus, he is competent, to effortlessly and vigorously, create his visual

    messages on his canvas; bringing about an interaction between the audience and his painting.

    The visual message does not have to be the same for every viewer. The message, serves only as

    a visual or artistic "code," to be subjectively decoded, by each viewer; much similar to a popular

    piece of music, that echoes widely by communicating to the listeners - same melodic tone creating

    a different mood in different listeners.

    Thus, the communication quality of an artistic expression, is the artist's intention as a carrier wave,

    by which her message is delivered to his audience. The technical expertise, by which the art is

    executed, is also very important, and at times, successful all by itself; although, the quality of the

    visual communication, always remains senior to the technical execution of the art. The carrier

    wave, which communicates the artist's intention, to his viewers, is a phenomenon occurring

    between the artist and the viewer and resides within the realms of spirit.

    IMAGINATION VS. COMMUNICATION

    Imagination is the faculty or action of forming ideas in the mind and the ability to be creative andresourceful. The ability to originate communication, is in direct proportion with good imagination.

    The reverse is never true that imagination has to be imperiled first to result in failure of imagination

    to express thoughts and ideas. Imagination becomes thwarted and dulled in artists who become

    dependent upon others to reach out to them, to the point that they do not reach at all. These artists

    can then, greatly benefit, by rehabilitating the ability to originate, and initiate expressions of

    thoughts and emotions, and thus restoring their imaginative impulses in favor of creating

    communicative art.

    Imagination is the driving force behind the artist's dexterity by which he executes his art and thedeftness by which he communicates his impulses as visual messages. The more refined the

    artist's creative impulses, the clearer are his visual messages in sharing his thoughts, feelings,

    perceptions and other creative faculties with his audience. Imagination is the prior cause, which

    precedes the expression of art as its effect; a cause that unarguably and intrinsically, initiate itself

    in the future, as a postulate first, followed by an effect, which becomes expressed as a painting. Its

    conception is superior to its execution. Thus, the artist, through his imagination, continue to live in

    the future.

    In the case of abstract expressionism, the art is the conduit for the dialogue, between the

    imagination and the audience, via the expression as a painting. The more the artist becomes

    intimately acquainted with the inherent truth, and virtues by which he was created himself, the

    more freer become his imaginative impulses, and the more spirited he can express his art.

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    Abstract expressionism, is a genuine fruit of the imagination. Imagination is the only form of

    wealth, that gives us art as its dividend. Imagination is where the art is conceived and germinated.

    Imagination does not work with reason, it does not attempt to classify the physical universe as real

    or imaginary, it does not assess or evaluate things into categories; it only conceives ideas and

    expresses them - nothing more.

    The magic of art, does not exist in its execution, or presentation of feelings and mental imageryindependently exterior to the mind. Execution, or presentation of the art, is the technical expertise;

    the externalization by which the art is expressed. The magic of art, particularly modern art, resides

    within the intellectual awareness of the mind, in conceiving and forming of ideas. The essence of

    creation, resides in its conception. When the artist, completes the formation of a conceptual idea,

    and it then arrives in the external world in the form of an abstract or modern painting, the artist has

    given birth to expression, and the creation process is complete.

    Similarly, when we originate a verbal communication, the words we utter, are expressions of ideas

    we have already conceived and formed in our mind, what is being expressed in our speech. It is

    external to the boundaries of our imaginative and intellectual calculations, and subjected to the

    limitations of the physical or material means, by which they can be expressed; as it is not difficult

    to recall the times, when our thoughts or feelings, were far more beautiful, than what we have

    been able to express in our speech. The action of painting, the writing of words, the striking of the

    piano keyboard, are only the interpretations of the imagination in the field of thought and spirit.

    They do not exist in the realm of aesthetic creation, which is a spiritual pursuit.

    An imaginative idea, is far greater in scope, than what the artist portrays on canvas. The

    expression, whether in the form of abstract painting, singing a song, writing a poem, or composing

    a piece of music, it is always limited to the boundaries and limitations by which they can beexecuted within the material world. Thereby, it is an alteration of truth conceived in the

    imagination. The extend of this alteration, as to how much the expression realizes, and fulfills the

    conception of the original idea released from the imagination, is not measurable, or fully known at

    this time.

    A work of art is understood and appreciated by direct observation. Between the artist who creates

    the art, and the viewer who contemplates it, lies the magic: Expressive imagination. It is our own

    creative impulses, perceptions and recognition of the aesthetic expressions within the art, that

    allows us to experience what is being resonating to us from the artist; and thus, becomingengaged in a two way communication with the artist through his art; the art is an spiritual

    connection to the artist. Aesthetics, when fully perceived, elevates us into the serene realm of

    timelessness.

    KNOWING IS SENIOR TO UNDERSTANDING

    Knowing and understanding are two of the basic fundamentals in creating art. Knowing is a part of

    imagination within the mind, in which aesthetic impulses are conceived and transformed into

    artistic expressions; a process which is best understood by defining both: knowing and

    understanding; and why knowing is above understanding.

    Knowing is an intrinsic quality of the mind, in variable measures. Knowing is a state of awareness

    and a perception in pursuit of a goal. It requires no reliance on exterior forces. Knowing is always

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    accompanied with certainty, ability, and confidence. Knowing is a state of awareness; it is a given

    state of knowledge. Those with great abilities in a given field, have confidence and are fully aware

    of knowing that they know, independent of any external factors.

    Knowing is different than understanding, which comes about with learning. Knowing is the

    enlightenment felt in perceiving truth. Knowing is self-contained. It is a singular activity which

    exists by itself and within itself. Knowing is knowing that one knows. Knowing is th...