The Lab's Quarterly, 2008, n. 1

Page 119

Il Trimestrale. The Lab's Quarterly, 1, 2008 119

The first tool the artist has is colour. He observes the duplex nature of colour itself: a physical component joined to beauty, and the psychic component effect, produced by the same source. Psychic power has an essential importance, as it contributes to make the soul vibrate. “Colour is the means that exercises a direct flux on the soul, colour is the button, the eye is the hammer, the soul is a piano with many cords. The artist is the hand which, by touching this or that button, puts the human soul into vibration. This base must be designed as the principle of interior need.�114

The other artist's tool is shape, the only thing that can exist by itself. The abstract representation which everyone of us creates concerning a colour, has another feature than the above-mentioned: it has in itself a purely physical, interior sound. Shape also has an interior sound, and artworks are born from the union between shape and colour. Relationships among shapes and colours are not harmonic or disharmonious

in themselves, as this order status is determined by the

concept of harmony, joined to a specific period. Here we see, for the first time on the quiet, the birth of the concept of entropy , even if it is not clearly expressed by the Russian teacher. We feel the necessity to establish that there is no static and unchangeable order, but that there can be a superimposition of different orders, which can not be included inside a series, but which will have importance in a sequent period. Coming back to the shape, it is the representation of an interior content. The principle which dictates harmony is to find the right stimulation for the human soul. This principle is the one of interior necessity. Shape has, in itself, two important limits: -

a spatial limitation in the established space;

-

it is abstract.

These two limits are valid even when either a creation is completely abstract or closely bound to reality. In cases of similar conditions, a shape has always the same interior sound, but modifying completely these conditions -dictated by two factors: the presence of

114

Ibid. p. 96.


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