The Area Of Oblivion

Monochrome, nongeometric suprematist painting is focused on the quality of matter close to the concept of materia prima. It is a primitive material base, otherwise referred to as chaos, capable of free auto-synthesis into any other value. Alchemy, synthesis and transformation of one quality into another seems an emergent phenomenon of self-organisation, where any principle of happening still does not have any precise scientific explanation. An interplay in the artistic matter, appearing and disappearing of potentialities, makes us aware that the lack of concreteness gives way to generate the void.

The void is a concept attractive in its indefiniteness, it provokes both anxiety and fascination, as its relationship with void seems to be grounded in the foundations of human cognition. As Leibniz said, we do not know why “there is something rather than nothing”. Philosophical reflection was always focused on the origins of humanity and the question concerning the source of creativity. The beginning of form is related thereto. Eternal questions concerning our origins, infinity or the limits of the world and our existence refer to the existential yearning for stability in facing life and its continuous transformation. It is in the circumstances of ignorance that knowledge or a starting point appear spontaneously55 and such a starting point constitutes an axis of existence, rescue from helplessness and incertitude. In a way such narrative, fertilised by paradox (or inspired by ignorance), is born carrying an element of divinity. They constitute the answer to the flamboyant gap in our search for the meaning in life, but also a tool – a way of defining a familiar and safe area of existence.
My personal interest in chaos stems from doubts concerning the correctness of generally accepted reasoning. Each representation, phenomenon, idea or image are only a part of bigger whole, concrete and detailed approximation, which consists in limiting the scope of consciousness to a given object. In order to transform any information, one should broaden the perspective, which in extreme cases can result in chaos when there are too many data or the scope is too wide to perceive anything at all. Deduced picture of a whole is an indefinite constellation of scattered objects, which exist in vague nebulosity. Chaos, as an objective whole, leads straight to losing oneself and failing to grasp the reality of any perspective.

I refer to such symbolic quality of losing oneself using a working term of the area of oblivion and of striving to achieve a formal structure. Such a supreme sensation allows for losing one’s consciousness that melts away56, free fall into into indefiniteness of tensions and impulses active in the subconscious. Limiting oneself to subjective feelings in the framework of creative practice is the basis of building one’s artistic identity. Temporary denial of striving for structure is an opportunity to develop one’s intuition, which needs to become familiar with the internal shades of spiritual vibrations57. Any creative act is like a probe thrown into deep persona58, where no external accretion is threatening the independence of personal reflection.