After twenty stormy and tumultuous years, a dizzy and vertiginous whirlpool of drawing
and painting, a never ending hurricane of music and dance and an endless fight with
myself ánd my environment, I ended up in a period that, later on, would be known
as my ‘EVOLUTION NUMBER ONE’. This period, a period in which I drew my inspiration
from the ‘Early Netherlandish painters’ (Jan van Eyck - Rogier van der Weyden - Dirk
Bouts - Hugo van der Goes - Hans Memling - Gerard David - . . . ) and their self
willed perspective. A perspective that, seeing the fact that it, in no respect, took
into consideration the (up to then) unknown laws of perspective of Fillipo Brunelleschi
(Firenze: 1377 - 1446), was considered as primitive. Théir approach of perspective
ánd the way the Cubists (1907 - 1914 / Paul Cézanne - Pablo Picasso - George Braque
- Juan Gris - Francis Picabia - Jacques Villon - . . . ) would, four centuries later,
take by assault ánd destroy the ‘Brunelleschian perspective’, lay the foundation
of my urge to exteriorise the all - transcending - omni ~ dimensionality - . The
creations of the (from the art - historical point of view) quite important ‘Early
Netherlandish Painters’ (‘Vlaamse Primitieven’), and of the equally important Cubists
were the such and such stimulation for me to put my search for the time and space
exceeding and all embracing nothingness, the - bio » « centric - way (see: ‘THE -
bio » « centric - VISION’) on canvas. Whereas the ‘Early Netherlandish Painters’
approached tridimensionality out of their twodimensional restrictions, the Cubists
transcended the same tridimensionality by creating an unprecedented multi - dimensionality.
They observed ánd projected their tridimensional world, as it were, from different
points of view at a time. Mý purpose, however, was, to transcend this multi-dimensionality
by approaching ánd projecting the tree-dimensional world I once ended up in, out
of the eternal infinity of the all comprehensive nothingness, out of the time- and
spacelessness of the - omni ~ dimensional - ‘All’. An - omni ~ dimensional - ‘All’
that I only could attain by, starting from the world of the Early Netherlandish Painters,
(a world on the crossing of the two- ánd the three-dimensional), transcending the
multi-dimensional world of the Cubists. It would take three decades for me to achieve
that aim. Three decades with three clear and distinctive periods, my so called ‘EVOLUTION
NUMBER ONE’, ‘EVOLUTION NUMBER TWO’ and ‘EVOLUTION NUMBER THREE’. Three periods that
were nothing more than the forerunners of the ‘EVOLUTION’ to come, my ‘EVOLUTION
NUMBER FOUR’. During my first period, my ‘EVOLUTION NUMBER ONE’, it became clear
to me that, despite the fact that the - omni ~ dimensional - remained my ultimate
purpose, I could only attain this - omni ~ dimensionality - out of the ‘classical’
way of painting, whatever the shape of de two-dimensional ‘canvas’ (plane) I used
might be (see: ‘EVOLUTION NUMBER THREE’). I, however, never tried to disconnect myself
from the three-dimensional world (see my three-dimensional creations) since this
three-dimensional world is not only the essence of my existence yet an essential
and inseparable part of the - omni ~ dimensional - and - bio » « centric - universe.
(see: ‘THE - bio » « centric - VISION). And, this way, I had to end up in my ‘EVOLUTION
NUMBER ONE’, a period in which I, starting from a quite classical way of painting,
distanced more and more from all sorts of decorum and, consequently, from all that
could be considered as irrelevant. I drew my inspiration from the Early Netherlandish
Painters and distanced myself from the classical laws of perspective. I projected
what, in an indescribable way, took place in the world of my imagination, thát what
troubled me the selfsame moment, on the time- and spacelessness of the achromatic
plane. Each decorum, each reference to the tree-dimensional surroundings had to give
in on the eternal infinity of the all-comprehensive nothingness, on thàt what I only
could paint without painting. I approached my subjects from different yet, nevertheless,
three-dimensional perspectives, hoping that, one day, I could find the key to the
time and space transcending - omni ~ dimensionality - , but thàt, that’s another
story . . .
bie baldwin elbio
space artist