Super Abstraction [Technique]


 
It became very clear to me; the crucial thing for art is not the technique, not the plasticity, not the look, not the material, none of those things mean that much, at least for me.

For me, and I think it still exists for many others out there, for Poetry, for Dolly.

So…What do I need to make?



An Orange = An Orange


Mr. O (Orange): People might presume; in painting there is a division between subject and object in a work.

A  long time I was galvanized by those Oranges. Because when I look at them on the screen, for me they are more like Super Oranges. They are like Chewing Balls, I see them as Chewing Balls.

That might help you understand; while my  works are partly artificially formed as they develop, did not have any of those objects in it; no still-life, no landscape, no portrait, no oranges.

That did not necessarily mean therefore that there was no subject there.
[Time ~ Memory] : [Parent ~ Child]

My first generated work of this kind; the moment I moved into an area for myself, that was really me, I made on my birthday, in Paris. A work called [Time ~ Memory].

It was a small composition, seen between a sequence of thousands of random compositions…

Actually it’s not really a composition as it is more –a strike of light- .

I’m left,  but I made [TM] with the right hand.

What I would like to say is that even when I produce Super Abstraction 1/10, 5/12 or 47/125, I'm going to paint pixels. I did not make an arbitrary abstract decision. I suppose I thought of them as moments in time.

.

When I composed the first image of this kind, which I called [PC] I put it in the corner of the room in Paris.

For about 4 months I was wondering: What has happened, what is this, what had I done?

“It stroke me as thunder-lighting in an empty desert-storm”


I realized that until then, before I used this attitude, I was just filling those blank pages in order to make it all appear very constructed.  Suddenly in this particular moment I realized that it was already there; a truly instinctive work.

The surface, solemn, empty. “I finally got rid of the construction.”

When I  found the way to move this work into the realm of everyday-reality {in-between-non-reflective-glas} -->

I feel these works come alive; you can finally really see it.

You look at it.
You see it.

and if you don't….

This is no room to walk into. It's not a door leading you into a situation, where you've walked through some either interior or exterior world from which you then come to a conclusion; No beginning, no end.

Maybe you know what I’m talking about...

My right-hand {Computer} is a mere choreographer of space; it creates a kind of dance of elements, of forms, but it is not able to distinguish one from the other.

M.: It’s not able to distinguish right from wrong.



Parisian Café [Analogy]


It’s nothing different than walking through a Window of a Parisian Café.

When you see a person passing by, it has an immediate impact. You don't have to really start looking at details. So to say; You don’t construct your image of this person through calculated measurements.

“Snap'' When you meet a person for the first time, it is immediate, it is therefore a purely instinctive happening.

A total reaction;  in which the entire personality of the person and your own personality make contact, and to my mind that's almost a cosmic-event.

If you try to start examining the eyelashes, and all that sort of thing, it falls into an artificial-cosmetic-situation. You remove yourself from your human instinct.
.

School Art-Teacher talking about Black Square: You know M. there is actually a face in there…It was only until much later it turned into his dead-pixel.

[5 Months later]


School Teacher: So I’m going to Paris next month.

M.: You can finally see WTfor real!

School Teacher: I already saw it enough on my phone, on my computer, on paper… I don’t have to see it again.  In reality it cannot be that of a spectacle.

Besides, I prefer to sit in a Café.
Enjoy with all people,
the scenery.


It seems to me, more than any contemporary-old-fashioned idea of what art might become. In the end material doesn't count, whether the work is small or big is not an issue, size doesn’t count, stijle doesn’t count, even scale doesn’t count.

“A work can be as big as a horse, and still be an easel-painting.”


It’s human instinct that counts, and the only way you can achieve human instinct is by the content;

You

I’m just a Middle ~ Man,
really.
.
.

“M: Horse {jump} from Be One {B1} to See Five {C5}”

~
Piss exactly in the corner of the boxing ring.  
[Check Mate]
Game Over Guys! ;)
.
XXX : Holy Cow!

.
.
>00>: If you want to dive deeper in this topic you continue here.
7 : If you think you understand this, take a

*Part of this text is auto-generated.