logo

Robert Rabiega (Łódź)
The study of space I, paintings

www.robertrabiega.art.pl

Is it not better to have no idea about math and geometry, physics and those smallest things it occupies itself with, completely invisible to the naked eye? To know nothing about Malevicz who disassembled painting into its component parts barely leaving background and mark? Nor about Mondrian? Little or nothing about the properties – for example – of pigment or temperature, colour temperature? About Optics, real, unusual tricks applied by painters to fool the human eye? About perceiving space and questions about where does it end and where does it start, or what is its density? About the nature of motion? About consciousness? How do we perceive the world? As a singular, even though unimaginably complex, but in the end singular entity?
Not to know that ideas are an array of abstract notions, and it is a matter of choice how we see them; as a word, an image, a sound, a digit. I use a singular here on purpose – a word, an image, a sound, a digit. It could be said that all art, the Art (perhaps with the exception of baroque), is based fundamentally on the evasion of verbosity.
To know nothing or have just few details about how paintings were created – starting with a pencil drawing – a draft, to the first brushstroke; from developing the first, still imperfect, blackness until all absorbing black square canvass emerges to be followed by others. More than guess what precision and patience is required from the painter of these canvasses.
By the same token, it is not better to have a good understanding of all those things? Better still, to study one of those disciplines – any of them – to devote years of effort and to know that Mondrian existed, while space is a collection of entities – functions, vectors, numbers, geometric figures, conditions of a certain physical state – between which there are certain established geometrical relations; for example distance. Those entities are called elements or points.

Exhibition in Wschodnia Gallery, December 2002-February 2003.

Maciej Cholewinski

 






photo © Marcin Piotrowski