Tuesday, March 2, 2010

Meditative Synesthesiae [2007-2008]

Both for chronological and stylistic reasons, the Meditative Synesthesiae can be analyzed only comparing it to my previous collection, Obscure Subconscious [2006-2009]. The difference among them is self evident, so I will spare the reader from detailed comparisons among the two series. Instead, I will briefly point out the reasons of creating something different, and I will try to underline its value.


Looking over the works I realize that [for me] they represented probably the moment of a radical change. The abstract Synesthesiae offered me not just the freedom and courage to move beyond a relatively rigid academic style, but moreover, they offered the chance to exploit the possibilities provided by color. These experiences almost two years later represented the indirect source for my second website project, The Color Box.


However, the strength of the collection lays in something else: compared to my previous collection for me it was a much more direct approach toward psychology and introspection. The Synesthesiae exploit a new non-narrative perspective in my creation. This may sound relatively contradictory since in my previous series I insisted [and maybe even boasted myself] on the importance of message and intellectualized contents of an artwork. Even though it might not be clear at first glance I maintained the value of contents in the Synesthesiae too. As the name affirms, they are Meditative, being introspections that show my psychological state in the moment of creation. I consider them as being my most sincere creations made, since I started to work on them with one intention: capturing my emotions in colors.


Now you may ask yourself how is it possible to say something sincere through abstract images. Or moreover, how can you connect psychology with art? Revolutionary discoveries were made by the well know S. Freud psychoanalyst at the beginning of the 20th century through his writings about art. In a few studies that he dedicated to visual art, he put the bases of psychoanalytical approach to visual art. Since then, numerous artists and art styles found their theoretical support in Freud’s or his followers’ studies. According to them, the figurative visuals created by an artist may be used as a medium to understand his deep feelings, personality or subconscious. But every figurative element can be interpreted though various perspectives and it can easily become misleading. Moreover, an artist with a rational approach to his creation and with some basic psychoanalytic knowledge can freely manipulate the contents and symbolism of his figurative visuals, leading the interpretation of the work on a path that he desires.


Oppositely, I see nonfigurative art as being much more sincere and more direct. It can be understood step by step following with a relative precision the actions of the artist: the colors he chooses and his reasons for it, the directions and the strength of the brush’s strokes, the overall shape of the composition itself etc. More or less spontaneous these elements can be unmasked expressions of the artists’ state of mind in the moment of his work.


Following these aspects, the Meditative Synesthesiae must be perceived as a step toward psychological 2-dimensional art, a pursuit of finding a common point among artistic shape, color and feeling.



Fabian Emanuel

Cluj-Napoca, autumn, 2009