more on the controlled aspect


more on the controlled aspect –

much of the process of (creative and original) painting is pre-conceptual and/or pre-
rational, some aspects might be rational, the result of thinking, planning, reflection
and most definite will be the result of previous experience  (both experience outside
the discourse of painting as well as experience the artists developed  in the discourse
of painting) of the artist.

Experience outside the discourse of painting, or experience that are not directly
linked to the process of painting could include anything in the reality and life of
the artist. It also refers to that what is perceived by the different senses, the
results of reflection on such perceptions and the structures of perception that
are employed by human beings for perception by their senses and by reflection on
perceptions, thinking and talking about or communication of such perceptions and
reflections.

All this information, knowledge, understanding, insights and wisdom developed by the
artist forms part of or constitute his ‘experience’. These things playa  role in
the pre-conceptual and pre-rational consciousness or awareness of the artist as well
as in his conceptual and rational thinking, understanding and expression or awareness
and consciousness.

All these things are referred to the controlled aspect. In other words when Richter
(with his squeegee) , Pollock  (with his drippings), etc appear to be working in
an accidental  (uncontrolled)  manner, their actions are ‘controlled’ and informed
(based upon and informed) by all their previous experience, and more specifically
by selected, relevant aspects of that experience that constitutes the mind set,
style, life world and reality of the artist at that point in time. Therefore, even if
his activities might appear to be accidental, a controlled aspect do play a part
in his painting.

—-

Pollock Richter at work gr gr1 gr2 JP at workRichter and his squeegee and Pollock at work

art statement – video: found in a cellar

Paintings found in our Chateau’s cellar 3 (curated 7 July 2013) (

) (and

fa467 fa369 fa367 fa269 fa264 fa249 fa247 fa246 fa226 fa176 fa167 ab59 ab59a ab68 ab69 ab27 fa12 fa26 fa69 fa76 fa127 fa146 ab58 ab56)of work by Ulrich de Balbian created by curators for the DE BALBIAN ART FOUNDATION. http://www.newstylesgallery.info

 

 

We’ve seen the FUTURE of ART = Ulrich de Balbian My explorations in visual art MAKE THE INVISIBLE VISIBLE. My paintings are intended to assist in beginning not merely to look at art (and ALL areas of existence), but to SEE or perceive. We direct our eyes, ears anf other senses at objects but we do not actually register them meaningfully in our minds. My work explores, investigates and breaks down to its essential elements the socio-cultural practice and tradition of western visual art. My own work should not merely be perceived in a critical manner, but the entire code of this practice and tradition should be questioned and analyzed pre-conceptually. Art like music can be universal, for all people from all ages and cultures. My work attempts to assist viewers to begin to experience in a personal manner (as if perceiving for the first time,. like a new born child, without any personal attitudes or cultural pre-conceptions and assumptions about art and all aspects of existence) not only the particular work, but all visual art. And, not only the tradition and socio-cultural practice of visual art, but all art forms, and all aspects, areas and dimensions of existence on this planet. The phrase: my art makes the invisible more visible, refers to the above statements.

Why I present the same work in different colours (see Facebook posts – https://www.facebook.com/ulrich.debalbian.3)

ab11abcde ab11 ab11a ab11ab ab11abc ab11abcdThere are a number of reasons why I present the ‘same’ painting in different colours, sepia, monochrome, etc(  see myFacebook page for these posts –
Here are a few of them –
1) it makes one realize that changing the colour/s of a painting, the painting appears to be different;
2) one becomes aware of things, eg forms, composition, etc, that one was not aware of when perceiving the painting in (or AS) just one ‘set’ of colours;
3) that the viewer should apply this experiment and its effects to the work of other artists and other works of art. Imagine for example when a certain van Gogh, Klee, Picasso, Kandinsky, Miro, el Greco, Raphael, etc, etc is presented in a different set of colours…  Imagine perceiving things we encounter everyday are perceived in a different ‘set’ of colours, tones, etc – a sunrise, sunset, a friend, your parents, your dog or cat, your house, room, bread, car, scrambled eggs (for example as blue, red, green, black etc).

4) The variations in colour, tone, etc are endless, as are the consequences and implications of changing the colours of a certain thing.

It should be obvious that I reflect deeply and carefully about all I do.