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ingrandisci

It is necessary to view the painting in a state of dynamic equilibrium between one stage and another of the process rather than stopping on the isolated states of the individual parts highlighted in the diagrams I have used to examine the composition; to see the geometry in its state of becoming; to see the planes an instant before, as they develop out of symmetries, and to see the symmetries while they are generated by the small squares, which are generated in turn out of the interaction of opposing lines, each of which, taken in itself, expresses an absolute and infinite space that eliminates any possible relationship.

The space of BBW blossoms in a multitude of different entities that gradually turn into a single "thing", which then splits and reverts to a manifold condition. This happens endlessly in accordance with an interminable flux that is necessarily depicted by the painter in a certain form but not exhaustively captured within it. Expansion and concentration: something changes every time there is expansion and every instance of concentration will appear in new and different form while consisting of the same energy or matter. Like nature: immensely varied but nevertheless one. Like every single thing: simultaneously one and many.

As the artist was to write in 1919, "The one seems to us to be only one, but is in actual fact also a duality. Each thing again displays the whole on a small scale. The microcosm is equal as composition to the macrocosm, according to the wise. We therefore have only to consider everything in itself, the one as a complex. Conversely, every element of a complex is to be seen as a part of a whole. Then we will always see the relationship; then we can always know the one through the other."

 
A random, manifold... ..and external space... ..gives way to... ..an internal... ..and unitary space... ..and then again moves outward from the inside... ..opening up to the initial external, random and manifold space.  
ingrandisci