During my spiritual and artistic journey through the time- and spacelessness of the
achromatic plane, a journey to the point where three-dimensionality turns into -
omni ~ dimensionality - , I, time and again, bumped into the borders of my two-dimensional
canvas. A two-dimensional canvas that I had to transcend without falling back into
the restrictions of a three-dimensional creation. Without creating the umpteenth
conceptual mind game in order to become the such and such clone of Marcel Duchamps.
I had to penetrate the essence of the time- and space-less plane, the plane in which
beginning and end merge without leaving any trace, the plane where the notions ‘beginning’
and ‘end’ are nothing but a far and vague recollection of a long gone three-dimensionality.
The - omni ~ dimensionality - of my - bio » « centric - philosophy (see: ‘THE - bio
» « centric - VISION’) was, after all, more than a simple mind game. It was the essence
of my existence, the air I breathed, the water I swam in, the path I had to go. It
was the stone which, as so many things in life, lies just for taking. A stone that
I, unconsciously, discovered when I, eleven year of age and inspired by the space
flight of John Glenn - the first American to orbit our planet - set out to create
a universal and world embracing work of art. A work of art that would bloom into
‘The Universal Space Link’, the project during which 13 ‘Crystal Space Links’ would
be brought to the most remote sites on our planet, (The summit of the eight highest
mountains, the center of the three oceans and the north and the south pole / see:
‘The Universal Space Link’). The spherical shape of these 13 ‘Crystal Space Links’
would be the blueprint ánd the foundation of my - omni ~ dimensional - paintings.
The paintings of which the three-dimensional borders would lose themselves in the
eternal infinity of the - omni ~ dimensional - plane, there, where ‘beginning’ ànd
‘end’ are nothing but a three-dimensional illusion.
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The ‘Crystal Space Link’ didn’t only put me on my way to the infinite plane, the
essence of my - omni ~ dimensional - painting. It was also the onset to the dualistic
and contrasty use of color, so characteristic of the third period of my artistic
life: my ‘EVOLUTION NUMBER THREE’. A dualistic and contrasty use of color that accentuated
the sharply outlined figures based on the archetypical forms branded on our collective
memory. Archetypical forms which, in a subtle manner, effect the sub consciousness
of the onlooker. Archetypical forms on the imaginary boundary between the figurative
and the abstract. I had - in order to reach that aim - to reduce the use of color
as well as the play of planes to their absolute essence. The spherical shape of the
- omni ~ dimensional - painting (the materialization of the indissoluble ‘binity’
of ‘time’ and ‘space’) can’t, however, and this, no more than our own planet, be
caught in one single time zone. When the onlooker revolves around the - omni ~ dimensional
- painting, he doesn’t only evolve in space but also in time. Notwithstanding the
fact that he, out of his strictly personal point of view, seems to remain in one
and the same time zone, he, actually, just like a satellite orbiting our planet,
evolves constantly from one time zone into another. These, for our three-dimensional
grasp, unfathomable time differences create a constant tension between that what
the onlooker saw (the past), sees (the present) and expects to see (the future).
A tension which forms an indissoluble and essential part of the - omni ~ dimensional
- space painting. A tension that makes clear that the notion ‘universal time’ (and,
as a consequence ‘space’) is nothing more than the strictly personal projection of
an illusion. That our three-dimensional world is nothing but one single yet sparkling
facet of the - omni ~ dimensional - diamond we call ‘our universe’.
bie baldwin elbio
space artist