THE - bio » « centric - SPACE PAINTING
EVOLUTION NUMBER THREE - ‘THE UNIFYING’
HOMAGE TO KATSUSHIKA HOKUSAI - JAPANESE PAINTER 1760 / 1849 - NOTRE DAME - PARIS
IMMACULATE CONCEPTION OF ISIS, MOTHER OF HORUS AND WIFE OF OSIRIS - CENTRE BEAUBOURG
PARIS
BRUGES - (VENICE OF THE NORTH)
ON THE CROSSING OF TIME AND SPACE
MARCUS VITRUVIUS POLLIO - LEONARDO DA VINCI - bie baldwin el bio
HOMAGE TO THE JAPANESE PAINTER KATSUSHIKA HOKUSAI (1760 - 1849)
LEONARDO DA VINCI - MILANO 1490/1491
The difference between the - omni ~ dimensional - space painting and the traditional
one transcends the difference between stereophony and monophony.
The intensity of colour and the shape of a well - defined subject will differ according
to its place on the - omni ~ dimensional - space painting, and this, in proportion
to the point of view of the onlooker. The onlooker, for his part, will be able to
influence these differences, either by changing his position, or by turning the -
omni ~ dimensional - space painting around its midpoint. This one will, this way,
become a living painting while the onlooker and the - omni ~ dimensional - space
painting, similar to the planet and the star, to the electron and the atomic nucleus,
form an indissoluble ‘binity’. The eye of the onlooker will, however, never be able
to focus on the entire visible surface of the - omni ~ dimensional - space painting,
seeing that the differing distances between the different points of the - omni ~
dimensional - space painting, what makes the contemplation of the - omni ~ dimensional
- space painting a, physically spoken, extreme active doing.
The fact that the angle of incidence of light differs for every point of the spherical
surface of the - omni ~ dimensional - painting emphasizes its spatial
nature and, consequently, its close relationship with the macroscopic universe
(the planets and the stars) and the microscopic universe (the atoms).
The angle of incidence of light on each well - defined point of the spherical surface
of the - omni ~ dimensional -
space painting differs for both eyes and, consequently, emphasizes, its stereoscopic
nature.
At the same time, two or several onlookers will, however, perceive two or several
manifestations of
the same space-painting, a given that illustrates,in a clear way, its universal
- omni ~ dimensionality - .
Each and every well - defined point of the spherical surface of the - omni ~ dimensional
- space painting functions, simultaneously, as absolute - perceptible and/or imperceptible
- centre. This way the beginning and the end, the front view and the rear view, the
top view and the bottom view, left view and the right view lose themselves completely
in the - omni ~ dimensionality - of the spherical surface of the space painting
and form, consequently, a sempiternal movement of forms and colors.
HOMAGE TO THE JAPANESE PAINTER KATSUSHIKA HOKUSAI (1760 - 1849)
IMMACULATE CONCEPTION OF ISIS - MOTHER OF HORUS - CONSORT OF OSIRIS
CREATOR OF LIGHTNINGS AND HURICANES
HOMAGE TO THE JAPANESE PAINTER KATSUSHIKA HOKUSAI (1760 - 1849)
IMMACULATE CONCEPTION OF ISIS - MOTHER OF HORUS - CONSORT OF OSIRIS
CREATOR OF LIGHTNINGS AND HURICANES
ETERNAL CYCLE OF CONSECUTIVE EXISTENCES
HOMAGE TO LEONARDO DA VINCI
MARCUS VITRUVIUS POLLIO - LEONARDO DA VINCI - bie baldwin el bio
ACRYLIC ON POLYESTER - Ø 12 M
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