Traditional artistic ideology is an inheritance. My ancestors, the Pharoahs, were the most successful artists in history, because their artistic formula consisted of their knowledge, experience, and opinions. Art is the shadow of history, or the record of humanity where history has an organic extent. In other words, years continuously divide man's intention to define his relative position to time. Time obviously does not separate from the place. The ideological understanding of the different shapes of artistic definition previously varied more sharply from country to country. At one time, it was easier to identify the nationality of the artist. However, today most artists take serious steps toward internationality.
I refuse adamantly the pretending of traditional works because I understand that emotions cannot linger. When great portraiture, nature, or even still life is attempted, it takes a great deal of time to accurately execute perspective, color, light, and shadow. Let us ask together, "Is it possible for the artist to keep his original feeling alive, yet immutable for the duration of the piece?" Human feeling refuses to be fixed to a constant.
The infinite quantity of facts which surround us, obligate us seriously to search for a more adequate formula of balance. As a starting point, let's separate the surrounding facts into two main branches:
-The Scientific Sciences, such chemistry or physics;
-The Humanistic Sciences, such as religion or philosophy.
The Scientific Sciences generally have two basic shapes: invention and investment. Invention always places us in the role of traveller progressing from the known to the unknown. The only certainty is that the unknown is unknown. But that doesn't mean it isn't here or there. For example, we succeeded in pushing the atom to separate by using experience and the subsequent knowledge attained. But that doesn't mean we created the atomic separation. Other inventions accidentally occurred, but that doesn't mean there wasn't a base. Investment is the stage which follows invention. We always invest our inventions to invent again. Art is the the complete understanding of invention and investment's circular shape.
On the other hand, the Humanistic Sciences are more clearly shaped by reaction rather than action. We see Christianity and Judaism through the behavior of Christian or Jewish individuals. But the materialistic mass of religion is intangible. Historical actions are visible, but not the history itself. The relationship between the Scientific and Humanistic Sciences eternally vacillates between the primitive and the advanced. This makes us the catalytic tool affected by the effect. History is the formula between effects and behavior to produce novelty; art is the only agreeable fact for this novelty.
Traditionalists must confess, all they do are geometric equations, relating part to part, or part to whole. They are simply attempting to produce a disciplined rhythm, such as the Golden Proportion, which is a prime example of my premise. We must be serious in acquiring a new judgement which does not equate radicalism with courage. We must ask ourselves repeatedly and directly, "What can we consider admirable?" Forged artistic crisis is the problem of the Modern Artist.
What color or material is used is inconsequential. Let us always keep correction and thoughtful balance as our power of self-direction. We desperately need in this period an acceptable digestion of civilization's secretion which can protect us from this dyspepsia. We do not need to be springs of a clock. We must confess readily that everything in existence is submissive by necessity to exact geometric equations. Intangible Artistic Geometric is the only security against the shock of uselessness. Let us make time the neutral element and strongly face together the impossibility circles and uselessness of others. Let us think together!
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