JAZZ no 3, YELLOW. AFTER PIET MONDRIAN. Limited Edition of 5 Photograph

The yellow gate with its geometric grid evoked the neoplastic compositions of Piet Mondrian a century ago. For him, the three primary colours red, blue, yellow, inscribed in a geometric network of black verticals and levels, were the main means of expression of the new art he called neoplasticism. The arrangement of lines, as if taken out of Ernesto Francisco Fenollos' system of art education at the end of the 19th century, makes philosophical as well as aesthetic sense. It reflects the essence of reality as expressed in the balanced relationship of two fundamental opposites, two cosmic, creative forces: the active (verticalism) and the passive (horizontalism), the active forces and the forces of duration, the masculine element (vertical) the feminine element (horizontal). The truss is a plastic image of the universe, and the colours its meaning: each manifests a distinct dynamic expression: "hovering" red combines with the other two colours: "radiating" yellow - the equivalent of the vertical and "descending" blue - the equivalent of the horizontal line. Mondrian's purist theory, built on Neoplatonism and Theosophy embraced music (jazz) and is one of the foundations of contemporary art. Today, I test this concept by eliminating each of the three elemental colours trapped in a network of lines and spilling them over the pictorial field. I observe how their energy and semantics are transformed and manifest their power over our gaze. It is a provocative dialogue with the Mondrian metaphysics of pure colour which, freed from the doctrine of the black grid, transcends its limitations to spread as pure sensual pleasure: pure colour-sound - jazz syncopation - a rhythm that connects art to life. (ml)