Chaotic Forms
The Chaotic is a means of discussing the mechanism of creativity as a chaotic process. Complexity of artistic endeavour is founded in multidimensional synchronisation of visual and psychological phenomena in both in the artistic activity and final oeuvre. A ‘form’ that is presented in the title of this work does not refer to the material aspect of any work of art, but to the factors decisive in the process of differentiation and reaching the artistic synthesis. I analyse the artistic practice taking as the example creative practices in ancient Chinese painting, which I understand as a model of creative transgression reached by relying on superior quality of reality.
Chinese philosophy of painting introduces the quality of ‘void’ in which creating painting is a metaphor of cosmological act of bringing forth objects from chaos. Creative act is connected with the fact of reflecting internalised image of the world on a canvas, which is it’s metaphor and a kind of meditation. Such self- transgression is based on a synchronised connection artist’s personality with something bigger than man. Analysing chaotic processes from wider perspective shows traces of underlying patterns synchronising elements, on their own perceived as unpredictable. Man, as a chaotic being, has a potential of selforganisation and emphatic synergy with the world. As a result, creativity based on a synthesis
of multidimensional simultaneity, is a subjective realisation of this synchronised quality.
‘Form’ in art is for me a moment of perceptual cognition, differentiation a concrete quality out of vague chaos. This indeterminacy I connect to cosmologically perceived chaos. I divide this area into a sequence, meant to mark turning points of creative process helping to navigate through this pre-conceived reality. Such a ‘place’ I call the area of oblivion, which
corresponds with deep unconsciousness that can only be expressed through action. Chaotic quality is also revealed by metastable regime of perception. The fact of complementarity od perception, as opposed to selectiveness, prompted me to examine the forces co-existing simultaneously. I compare the art work to a chaotic attractor, and thus interpret creative
process through the parameter of unpredictability. There, every point of the process is a point of instability, and intuitive chase of creative impulse leads through point of instability towards synthesis achieved by synchronising artist’s internal world with the universe. This moment of illumination I call window of transcendence, meaning a moment of no definition,
truth and freedom of matured subjectivity. Creative process is accomplished by reaching the isolated area of an artwork, that function as a gate to the world before the creative process has occurred. For the viewer it’s a ritual of entering the world ‘in-between’67.
Making a connection between creative art and chaotic process I conclude by stating that through art we exercise a unique connection with sphere of infinity. This fact constitutes, for me, a generalised truth about a man, whose continuous emergence from the state of oblivion, chaos and indeterminacy can be defined both by sustainability and variability.
Asa model of creative process, chaotic form is by artistic answer to the sensation of existential nature – unification of multidimensionality and complexity in chaotic synchronisation.
My findings are based on ancient Chinese writings of Master Shitao and Lao Tsy, psychology of deep person by Viktor Frankl, transgression by Friedrich Nietzche, Internal necessity concept by Kaninsky, metastable dynamics by Scott Kelso, synchronised chaos theory by Steven Strogatz, sacrum and myth analysis by Mircea Eliade, Rudolf Arnheim visual thinking,
and synchronised multidimensionality by Paul Klee and Malevitch’s feeling of indefinitenes
