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Philosophical Mutation Installation

Patrick Victor Doppagne

Belgium

Installation, Acrylic on Canvas

Size: 78.7 W x 78.7 H x 0.4 D in

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About The Artwork

The quadripartite (4X100X100 cm)Philosophical Mutation nuances the notion of inner necessity as defined by KANDINSKY, who was convinced that the two great kingdoms of art and nature are governed by separate and autonomous laws and that only abstract art could lead to the understanding of a general law of the universe. This inner necessity can be described as spiritual, as abstraction seems to have no other meaning in the context presented by the artist than to find an inner resonance, a sign of the divine presence. Gelb-Rot-Blau, executed in 1925, is his most important work of the Bauhaus period; it develops the theme of the three primary colours and their correspondence with three fundamental geometric forms, the triangle, the circle and the square. Kandinsky expresses his rejection of nothingness and eternal silence by distributing the three primary colours over the three basic forms. To the circle he combines the typically celestial colour blue, which develops a solemn, super-terrestrial contemplation like the low tones of an organ. The colour that attracts man to the infinite and awakens in him a nostalgia for the Pure and the ultimate suprasensible. In the square, red, with its warmth which acts internally as a very lively colour and which resounds like a fanfare. And finally, in the triangle, the last fundamental element for Kandinsky, the specifically earthy yellow colour, which symbolises the movement towards man but also the crossing of limits and the dispersion of forces on its surroundings, taking on the sound of a trumpet. As art is, in my opinion, an exclusively human activity, my critique first of all refers to the thesis "Abstraction and Empathy" by the German art historian and critic Wilhelm Worringer, who in 1907 defined the therapeutic power of the creative process: "Art itself has always satisfied a deep psychic need and not the simple impulse to imitate, limited to the playful joy of copying natural models. The nimbus that surrounds the concept of art, all the respectful devotion to which it has always been subjected, can only be psychologically elucidated if we conceive of art born of psychic needs and satisfying the same needs. Traditional Chinese medicine places great importance on the interactions between the human body and the outside world. The body and its environment constitute an organic whole, the psyche being inseparable from the somatic. "Every person is an artist", said Joseph Beuys, who believes that individual creativity leads to freedom. Each person thus has within him or herself "a power of shaping that he or she must know and develop" in order to make his or her life a work of art, a creation in perpetual evolution. The fourth argument of my argument is in line with the previous ones and stems from my personal experience: suffering from a neurodegenerative disease that appeared in my adolescence, I learned, after recovering from traumas due to a violent road accident, then to alcohol addiction, that a weakness can, with persistent determination and good will, turn out to be a real strength. I regularly exercise in order to balance the expenditure of cerebral and physical energy. As a follower of minimalism, I advocate simplicity in execution: the quote "Less is more" advocates purism, simplicity, rigour, reason, serenity, coherence, lucidity and knowledge. Philosophy reserves the privilege of creating the concept, which, as a conceptual artist, encourages me to initiate a form of "plastic philosophy", free of all constraints to the trend, expressing and defining art in terms of itself. My art is thus invested by the concept; it chooses the expressive appearances of the concept of the thing and my production is the perceptible manifestation of the idea; aesthetic parameters are neglected, in order to establish a reciprocal creative relationship between the world and myself. History, not experience, is the basis of the reality of today's art: to be a creator is to innovate, to measure oneself against history, the interpretation of which passes through language, which thus becomes the proper place of creation. It is language that originally produces meaning; the work is one with the writing that directs the project, because it is only in language that things can be posited as such, as conforming to their essence, posited in their being. The primary vocation of art is to give back all the intensity to perception not subject to the necessities of action.

Details & Dimensions

Multi-paneled Installation:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:78.7 W x 78.7 H x 0.4 D in

Number of Panels:2

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I was born in Ougree (currently Seraing - Province of Liege - Belgium ) on 11 August 1957. I speak French and it's very difficult for me to explain these technical and philosophical details in English. So I suggest you visit my website and my blog. Thank you for your understanding. My production is an intimate journey, it request the investment of the spectator. My motivation is sharing a vision of the world, art is the vector of communication; I consider that the institution can meet the spiritual and intellectual needs of the individual. Art project and positioning My achievements are reflected in a concept; they are the expression of "my dionysian inner need *". According to the Hegelian concept of ideational journey, I defined my generation as "Concrétisme Plastic". My Art Project is to represent the perception and the eradication of anxiety, facing the profound imbalance of today's world, injustice, and societal pressures and individual discomfort it causes, according to the scheme: - Idea: Design of the mind (Abstraction) - Concretism ideational (Written) - Subjective Concretism (Plan and staff)) - Concretism Objective (Purpose and universal) The essence of the medium, whatever it is, is the unique perspective, as well as the communication medium of the artist's relationship to the world. The subjective nature of painting allows me to interpret and remedy the inconvenience inherent in the real objective. Antagonism and ambivalence are attributable to changes in our lifestyles. My research suggests a return to universal values, Philosophical, psychological and spiritual, in order to balance the binomial - / +. The ultimate evolution of concept will be present (or represent) the mixture of the issue and its remediation in a single representation. My position therefore concerns the social and spiritual tensions and remediation, through representation. * - [ "In short, the effect of inner necessity, and thus the development of art, is a progressive externalization of the eternal goal in the subjective time. And so, on the other hand, the objective of the fight against subjective "Philippe SERS - Preface of the book Concerning the Spiritual in Art - W. Kandinsky. - For Nietzsche, in his first book "The Birth of the tragedy," Dionysus, is to be the most full of life and represents, beyond the orgiastic drunkenness, existential abundance, life as a creative power.

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