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It is difficult to find appropriate adjectives to express one’s admiration for a work of art. The reason is that satisfaction in real life refers is expressed through feelings or emotions. In art, however, emotions and feelings may count, but they are not enough to express the power of abstraction that characterizes it. Even words that are commonly used and accepted in the field of art, such as “emotion” do not have the same meaning as in everyday speech. Artistic emotion has nothing to do with tears and sadness, but with “intensity”. Maybe the latter is the key to enjoying and praising a work of art.

The tension embodied in the work of art is capable of arousing in the viewer equally intense thoughts, feelings and sensations through a special process that simultaneously mobilizes his physical, psychological and mental sensitivity. This tension is essential only when it is part of the work of art. Only when it is actually included in its ingredients. Only when it is part of its content and form. And not when it accompanies it, as is so often the case, externally and a posteriori.

Each tension requires upheaval and not calmness. And upheaval can only be achieved through conflicts and contradictions. Hence a work of art requires the presence of at least two opposing or complementary forces, whose conflict or dialogue will cause a spark similar to that of electricity. The artist attempts to achieve this controlled explosion using the artistic language as his tool, motivated by his need to create and using his view of the world and art as spring board. Any other means or goal due to different springs will result in artificial and ineffective tension.

A careful study of the important works of art will reveal many such dialogues and contradictions. Life is not defined without death, love without loss, good without evil, the straight line without the zigzag, white without black, 3-D without 2-D, limits without infinity. The laughing mask always accompanies the crying mask.

If one looks at the details of a great photograph as small parallel or contrasting stories, one will understand that a photographer is important because he manages to exploit the headline simplicity of the photographic medium to provoke an abstract narrative through the absolutely specific description. A photograph may be nothing but a rapid glance recording details of the world, but this glance should encompass such and so many conflicts and contradictions that the viewer feels the temptation of a narrative that is not overt. Hence, the more important a photograph (or any work of art), the weaker the viewer feels when called to describe it. Because intensity cannot be described and emotion cannot be defined. One can, of course, refer to the framework enclosing the tension, but then he immediately realizes the paucity of his discourse. Besides, starting point and goal of every work of art is to render not the details of the complex reality around us and within us, but the charming composition in which these elements are embodied and end up. Consequently, art has no interest in one-sided things. Not senses, not thoughts, not feelings. It is interested only in their contradictions, which alone are able to convey the intensity, the emotion, the enjoyment of art, and therefore of life. The work of art (or life itself) is not a linear one-sided story, but a great fascinating and complex adventure, exhausting in its delight.