Metaphysical painting was invented by Giorgio De Chirico in Florence 1907. It actually has nothing directly to do with the otherworldly, but rather a sense of mystery behind the objects of our day-to-day existence. I have been at a loss for a while, not feeling particularly spiritual in any way whatsoever. My days are full, thanks to my husband various things are going on a lot of the time, and apart from that I am struggling with the relentless insomnia and the fact that medicines have stopped working for me. It is really all consuming. Apart from this, I am thinking a lot about art. What is it to me?
Yet there are two things regarding my spirituality that are quite obvious to me. One is that my ego is struggling with the fact that I am less recognized as an artist than I used to be back in Finland. It lead me to say to my husband, "No one seems to realize how famous I really am" - and of course he burst out laughing and added it to the sayings of Vivi-Mari. I'm embarrassed! I also fear that I will never leave that mark on the world that I always hoped to, that mark that was supposed to justify my sufferings in this life. It's an awkward conflict and I naturally hope to see it resolved at some point in the near future. I am now middle-aged and hence all too aware of the shortness of life... of the little that is left.
|Giorgio De Chirico: The Secret of Love 1914|
|Renee Magritte: The Secret Life 1928|
|Max Ernst: The Sea 1924|
The other issue is more positive. Well, let's start with the fact that I want to make art about life here on Earth, and so I feel that I will fall out of favour from anyone who feels that the purpose of art is to point at higher levels of consciousness. The integral community is really promoting art these days as well as debating what exactly comprises integral art. It's worth having a look at integralllife.com.. Because we are speaking of integral art rather than mystical art, I venture to say that it is an art that has a broader spectrum of interest. In all honesty I find a lot of the art presented in their gallery emotionally cold, analytical - and male. Whether talking about chronic illness and similar issues in order to raise awareness of the challenges of the physical reality could be seen as integral remains to be seen, but of course I think it can be the expression of a very profound vision with deeply spiritual implications and it should encompass our human emotions. It's what I feel called to do, in spite of the fact that it is a form of risk taking for me. Not only is it very self-disclosing and this I have trouble with these days, but it may also simply not work out very well and it may gain no audience whatsoever. There's my ego all fear struck again...In fact, I have to concede that I am not necessarily any more important than anyone else, shock horror!
|Giorgio De Chirico: The Tower, 1913|
I love the way the shadows are mysterious and comforting
rather than scary or in any way negative.
Anyway, the other issue is that of the metaphysical point of view, which has recently become much clearer to me than ever before. For one, I started to read the exhibition catalogue about Giorgio De Chirico and the artists he influenced (A Look Into The Invisible). I am still digging through some rather tedious scientific article in the beginning but believe there will be revelations to be had if I persevere. Can you not hear the silence and life of the objects above? And note that they are all about the sphere and the circle, perhaps meant to symbolize unity, harmony; in a sense the most perfect of forms? Perfection can be found in the most unlikely of places. Yet I prefer when it is imbued with human emotion; compassion, connection and warmth. The most abstract one is the one by Max Ernst, and while it remains intriguing to me, it also keeps me the coldest.
Can symbolism exist without a reference to the physical world? We tend to interpret the world symbolically, language being a basic form of symbolism. Yet how someone understands symbolism as a language and puts deeply meaningful symbols together to create bigger wholes is an art all its own, something not everyone is capable of. I think abstract art can only go so far in referring to something universal and deeply meaningful in a humanistic sense.
At the same time, I started photographing objects in my studio. Since that worked out quite well, I continued by taking photos of other parts of the house. In the end, I had a portfolio which was good enough to send off to a journalist who blogs about interior decoration, despite the fact that our house is very far from being completed. I've just always wanted to be able to do this and ended up doing it in spite of all the "buts". I guess this is how you proceed in life: you don't wait for things to be perfect before you act. You just do what you feel driven to do in spite of all the imperfections. This is largely how I lead my life as someone with a chronic illness. I try my best to make the most of what I have. Working around things is my speciality...
Here are some of the close ups that give me a deeper sense of the mystery of objects and how they relate to each other (there are more in previous posts).
Photographing objects (I am calling the series "The Secret Lives of Objects") gave me this very strong sense of the being-in-the world of all these physical things and their interrelationships. This probably occurred because the objects were highlighted and isolated from their expanded environment. Suddenly I was able to grasp what Giorgio De Chirico was going on about. There is a mystery to be experienced right here, even in your very own home. There is a spirituality to be sensed where you least think to look for it. Everywhere is mystery. Colours and forms interact in harmony or disharmony, depending on the creator. It all reflects your soul, even the arrangements of fruit (often round!) in a fruit bowl.