"The new harmony demands that the inner value of a picture should remain unified whatever th variations or contrasts of outward form or colour." (Kandinsky, 34) Does this inner unification come through construction? How does construction speak to the inner workings of the soul? The soul seems like an inutitve thing, not one that works as a ladder or a mathematical equation, (
though buddhist imagery shows the change and rise the spiritually enlightened black elephant to a white elephant as a map)
"The spectator is too ready for a meaning in a picture." (Kandinsky, 35) We've become a critical culture. Is it really that the expectation is for a viewer to find meaning in an art piece, or that as a culture we expectat there will be meaning in a piece?
"We stand and gaze fascinated, till of a sudden the explanation bursts suddenly upon us. It is the conviction that nothing mysterious can ever happen in our everyday life that has destroyed the joy of abstract thought." (Kandinsky, 35).
- Does the disillusionment of the unknown expand or diminsh the spiritual?
- Does ullison heighten our sense of reality?
- Ths elitist, cerebral making seems to expect nothing and everything.
"We may be present at the conception of a new great epoch, or we may see the opportunity squandered in aimless extravagance." (Kandinsky 36)
- What has either prediction occured since then? Contemporary examples?
Did Kandinsky succeed in speaking to the inner and not the outer feelings and influences?
Populus Tremula, 2003, Mark Wallinger
A bare aspen with 500, mass produced, lightly scented rosaries
Iris Eichenberg
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