Beyond intellectual art I come to my senses
There is something about innovation and art. Art historians point to Renaissance as a turning point in the history of art, when Michelangelo and Leonardo da Vinci were maybe the first artists who actively and deeply explored the possibilities of art, representation and in Leonardo’s case even of science. Artists began to define themselves as a more special « species » than artisans (at least) and started to be celebrated like stars.
It took five centuries until the representational skills dissolved into the emotional representation of the surroundings with Impressionism and still 100 years until art reached the mind and became highly intellectual.
This development makes very much sense of course – humanity in general became more and more mind driven until we reach now a new breaking point. We find that we cannot sustain our species by purely advancing technology and securing our comfort through intellectual focus.
In art there is a huge comeback of craft, figuration and landscape and other nature topics - in design as well. If artists are the forerunners of social movements, as they are often seen, maybe there is hope? Is the art world finally getting bored with the intellect, opening up to more complete expressions with the integration of the « lower » (heart, body, nature) worlds?
Maybe in some tangible future we will stop looking for separation and gluing labels, trying to find security in small drawers and imprisoning ourselves in our small, known lives. In my own strivings I see a development in that sense. I am choosing now to throw most of my experiences, skills, techniques and materials into one pot, pulling out what is needed to create something new. Starting erasing the separation lines and allowing myself to feel vulnerable, even if it hurts?
The last Judgment, 1536-1541 Michelangelo, Sistine Chapel Vatican, Rome
“The work is of such beauty that your excellency can imagine that there is no lack of those who condemn it. . . . To my mind it is a work unlike any other to be seen anywhere.” Reported the Roman agent of Cardinal Gonzaga of Mantua after its unveiling in 1541. (khanacademy.org )
Drawing of Human Fœtus, 1511, Leonardo da Vinci
The study correctly depicts the human fetus in its proper position inside a dissected uterus. Da Vinci depicted the uterus with one chamber, in contrast to theories that the uterus had multiple chambers which many believed divided fetuses into separate compartments in the case of twins. Da Vinci also correctly drew the uterine artery and the vascular system of the cervix and vagina. Wikipedia
Nympéas, 1914-1926, Monet
The Water lily series of Monet represent an articulate example of the very emotional vision of Impressionist Artists. There is a dissolution of the object into patches of light, shadow and colors which in a way comes much closer to the more contemporary vision of physics – Everything is Energy! This impressionist energy speaks directly to the heart of the viewer.
Fountain, 1917, Duchamp
« Mutt comes from Mott Works, the name of a large sanitary equipment manufacturer. But Mott was too close so I altered it to Mutt, after the daily cartoon strip "Mutt and Jeff" which appeared at the time, and with which everyone was familiar. Thus, from the start, there was an interplay of Mutt: a fat little funny man, and Jeff: a tall thin man... I wanted any old name. And I added Richard [French slang for money-bags]. That's not a bad name for a pissotière. Get it? The opposite of poverty. But not even that much, just R. MUTT. » Duchamp
(and there might be another juicy story of a very different author behind one of the most famous works of Art of the 20th century. https://www.theguardian.com/books/2019/mar/29/marcel-duchamp-fountain-women-art-history)
Le Décor et son Double, 1986, Daniel Buren
Daniel Buren is a French conceptual artist whose work lies at the crossroads of sculpture, installation and painting, as well as action and intervention. He came to fame in Paris with the B.M.P.T. group (the initials of Buren, Mosset, Parmentier and Toroni) in 1966-67 and continued to develop a critique of the art establishment. Buren appropriated a standard format fabric motif of 8.75 cm-wide vertical stripes (which alternate between white and a color) as a visual instrument, or sign, to ‘expose’. https://www.xavierhufkens.com/artists/daniel-buren
Black Rain, 2019, Shiaru Shiota
Shiota's oeuvre links various aspects of art performances and installation practices. Mostly renown for her vast, room-spanning webs of threads or hoses, she links abstract networks with concrete everyday objects such as keys, windows, dresses, shoes, boats and suitcases. Besides installation works, she frequently collaborates with choreographers and composers such as Toshio Hosokawa, Sasha Waltz and Stefan Goldmann for opera, concert and dance projects. (Wikipedia)
Rembembering Caroline 2018, Annette Mann
We will always remember nature, 2019, Annette Mann
My way of giving tribute to nature is creating textile sculptures which remind of her beauty and diversity.