Presentation of the series “natural technology”, April 2019
Introduction and presentation of the works
At the date of 10th April, during the period of 4 months, 6 of 13 planned paintings of the series „natural technology“ are finished:
3 paintings in the format of 120 x 90 cm, from the main series and
3 in the format of 50 x 50 cm, from the series of hearts, the lateral series – all of them painted for the most part in acrylic on canvas.
Furthermore 5 paintings are planned in format 120 x 90 cm to accomplish the main series and 2 more hearts in the size of 50 x 50 cm for the lateral series.
Overview of the already completed artworks in the sight length x width:
series of the large paintings (main series):
1) 120 x 90 cm – „life touch“
2) 90 x 120 cm – „peak oil“
3) 120 x 90 cm – „red spider lilies“
series of hearts (lateral series):
4) 50 x 50 – „heart 1 „
5) 50 x 50 – „from the depth2“
6) 50 x 50 – „heart3 – instrument“
Second lateral series: “cyborgs“
Inspired by the studies of Leonardo da Vinci concerning the natural and hence derived technical forms and their principles, through availing myself of the same method – the observation of the nature – I wanted to become acquainted with the composition and functionality of the human body.
In the course of my anatomic studies in front of true-to-life wax patterns in the Josephinum in Vienna I developed a better understanding for the human organism as a product of the natural development and adaptation and his relationship with all the living on our planet.
At the same time the question of differentiation of the human beneath all the other forms of life and the peculiarity of his characteristics as self-conscious thinking, experiencing, remembering and creative being appeared.
Out of this considerations results the concentration on the plane of abstraction, ideas and consciousness, which essentially features the human being; also the searching for the energetic marrow began, which forms the basis of the human nature and the nature of all living.
As Heraclitus already taught, one can never step twice into the same river, all living is finding itself in the process of evolving and decreasing, this implies an abiding movement, permanent breathing, flowing until the energy exhausts itself, abandons the old form and alters to a new one. The energy channels are cognizable with an expert eye: ancient Chinese doctors were already able to examine the meridians and fine lines of the energetic streams of the body.
In nature we can observe recurrent forms: stars, spirals, ellipses, perfect structured, infinite variable mandalas of the snowflakes, mandalas occur also during the visualisation of sound; fractals, crystalline formations, which nature seems to produce unlaboured. The art creatives and scientists on the other hand have to decrypt those figures arduously in the effort of re-enacting. The nature however isn’t able to disobey the rules which are at the bottom of her building – sometimes they seem random because too complicated, but also systematic ascertainable.
Alike the alchemists in former times which were searching for the Holy Grail – the formula, which is able to merge and subsume all natural principles, I felt during my anatomical studies a comparable inspiration for detecting the interrelations between the human being and nature, consciousness and technology and depicting the corresponding ideas on canvas.
Leonardo da Vinci has directed, subsequently to the ancient tradition, the attention of the world towards the device of proportions; foregoing Plato has referred to the mathematical components of nature in his platonic bodies. Following related thoughts I would like to guide the attention of the contemplator towards a plane which juts out of the bare observation of ordinary material forms and which builds a bridge towards a method of approaching the connectivity of all living, including our planet similarly understood as a living organism.
According to the conceptions of Carl Gustav Jung, some of the paintings of the series may be seen as archetypical. They represent particular states of cognition and imply numerous scopes of meaning and interpretation. Hereafter the reader finds some proposal lines of thoughts and he is welcome to search for his own conclusions.
Reminding of Michelangelo’s fresco “the creation of Adam”, while keeping Leonardo da Vinci’s “John the Baptist” at the back of mind, who points upwards to the unseen, unspoken, into unknown heights, the painting “life touch” arises, which recalls the transience of the material world, as well as the subordination of life to concrete laws, which are emblematised through the spiral structure of the golden sunflower in the background of the light side of the painting.
Studies inside the Josephinum Vienna
The Josephinum is the most prominent example of neoclassical architecture in Vienna and an important legacy of the Age of Enlightenment in Austria. It was founded in 1785 by Emperor Joseph II as a medico-surgical military academy to train prospective doctors and midwives for civil and military service according to novel teaching methods.
Amongst numerous other collections, the Josephinum houses the world-renowned collection of nearly 1200 anatomical wax models commissioned by Joseph II in Florence for the newly established academy, as well as the historical library with scripts and volumes from the 15th to the 18th century.
The Josephinum is the historical gateway to the Medical University of Vienna and remains to date an important place for teaching, research and the exchange of ideas.
During my studies in the Josephinum I recognised that every angling, every curvature, thickening and curve of the bone, every single tendon in the human body fulfills its own function, none part is superfluous, everything is perfect constructed to ensure the best functionality.
If we examine our Earth as a living and working ecosystem, which bears and preserves life, which shifts and ever transforms, passes through various chemical processes, it seems likely to account it like a living organism.
In the case that nothing in nature is dispensable, if dependences exist while minor deviations from the norm can cause a chain reaction of processes which can transform whole ecosystems, the thought of drilling for petroleum with successional pumping of chemicals under the earth crust, as well as the blowing out of burned chemicals into the atmosphere seems absurd, if we consider that the humanity knows relatively little abut the features of mineral oil seas, which are largely seen as deposit out of decay processes and which are bereft any kind of other functionality.
This thought provoked the origination of the painting “peak oil”, which depicts the dependency of technology of the natural resource, in which the oil, likewise the blood of the earth, brings the heart of our civilisation to beat.
Lycoris radiata ist called the red spider lilly.
It originates from the old China and populated in ancient times
Japan and the rest of Asia. In the Japanese and Chinese cultures
this flower has a special prominence.
The red spider lilly is also called “the flower of the other shore”,
or “the paradise flower”.
In Japan it is also known as the equinox-flower, whereat it got
the byname “flower of the dead”.
It is said that the flower blooms 3 days before and after the
equinox, a period which is seen as the “entrance to other side”.
I is said that in the underworld exists a river, the oblivion river,
likewise as the river Styx in the Greek mythology.
When the dead want to traverse this river to reach the other shore,
they lose all their memories of their past lives.
At the other shore the red spider lilies bloom.
The legend tells that the scent of the beautiful flowers bring back
all the lovely memories for the last time, before the dead disappear on the other side.
3 paintings of hearts (lateral series): „heart 1“, „from the depth2“, „heart3 – instrument“
The series of hearts were developed in the course of devotion my attention to the inner organs of the human body. The painting “from the depth2” was presented at the opening of the gallery Daliko in Krems at the end of May 2019, as well as at the XIIth Biennale Florence in October 2019.
Preview of the painting Nr.4 of the main series
Foregoing studies and sketches