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Short essay on Practice 2009

A short essay on my practice. 2008.

Through techniques of geometry and collage my practice examines possibilities in the expanded field of painting. I aim to address central issues concerning the nature of aethetics through the four dimensions. As part of this investigation I work with sculptural aspects of geometric painting and installation.

On a formal level the work aims to add another aesthetic value to the strict geometric designs through a dialectical motion between painterly technique and the rigid formalism of mathematical drawings. The aim is to negotiate a new understanding of aesthetics, which include the minimal designs on one hand and a spectral colour scheme reminiscent of anthroposophy on the other.

A systematic formal approach to painting enable the work to take a step back from the obvious and discuss painting in another sense, beyond the merely and immediate pictorial. This is as much about the material and its use as it is an academic issue concerning the theory and history of art. The work can be seen as an attempt to add body, space and spatial qualities to the bareness of the geometry. In reverse the geometry functions as a means of binding together the often disparate and dissolved structures of media. The pieces are finally woven together in the last moment of presentation at the actual exhibition.

In cultural terms the work relates to the history of sacred geometry in islam and most other early religions. Geometry is due to its minimal substance an empty vessel for applied theories. And it contains an inherent beauty that appears convincingly absolute. In islamic design in particular the content is largely connected to cosmology and organic growth. The philosophy of the design seems to suggest a relationship to the thoughts expressed in Rudolf Steiner"s antroposophy. What is interesting here is the fact that apart from the structural concept that was gleaned by Josef Beuys the history of art has almost eradicated the antroposophic aesthetics. The question is whether it is legitimate.

The scale and flux of the installations implied in the sitespecific constructions of real space creates an improved physical sensibility and stretches the awareness of placement, body and perception. The viewer experience a perspective dividing space towards planes of surface. The line of sight is interrupted by boundaries and the planar fragments are manipulated by the spatial use of colour. The presence of the body adds time as a fourth dimension to the work. The installations are the manifestation of a subtle choreography.

The playfull dialogue between painting and object or architecture is another property of the geometric form and questions our understanding and belief in those primary terms thus both engaging the spectator on a conceptual level as at the same time establishing an area less defined by categories.