JIGGLING ARTISTIC MEDIUM (in progress)
There is no need to connect everything with everything, rather it is about giving everything space to connect with anything, if it is necessary, still in the realm of freedom.
Considering the west art practices, during the past the medium itself was considered as a tool which become purveyor of the artist´s view of reality – eventually imagination. It is quite coherent in accordance with the zeitgeist of humankind on this side of globe. The idea of man as a creator of its surrounding could blame us until now. Still create the images of what the man sees, even though based of the scientific research is apparent that, colors even forms are a temporally illusions which are mirrored in our brains and still related to the emotion therefore the temporally state of mind. There is no need to neglect the aesthetics values of particular epoch of human kind as well as It would be not truthful considering them as definitive truth, which should become the finished painting after all.
Wish a lot, still there is no actual need to obtain the whole.
„True freedom is in accordance with the holy necessity we feel in animistic knowledge, when spirit and heart, bound only by their own law, freely consents to what is necessary.“Friedrich Shelling
In a book The Love of Painting Isabelle Graw further investigates the importance of medium within the art process and called it Vitalistic Fantasies. Figuratively speaking „Within this kind of fantasy, materially visible painterly signs, like brushstrokes are read as „traces of an activity“. In this context, however, fantasy does not indicate purely illusory production. On the contrary, vitalistic fantasies need a material anchor that occasions them. This aspect of medium becomes apparent when are considered the colours and material which are particular colours made of. There is always inherent impression of liveliness even in simple colorizing a shelf by any alkyd colour. But the impression of liveness could be weakened by raising the knowledge about particular material. Even though the impression weakness is just temporal until an artist finds a way to use the material in such way to contribute of its own unique nature to the whole. Thats how is made a harmony of liveliness during the process of art creation. There is no proof of that. Still we can somehow feel it, although in a limited way constraint by limited nature of our knowledge.