Visionism
The results of the traditional aesthetic non-conformity that makes the artist an eternal unsatisfied with his work, led me to try to introduce a new form of plastic expression in the artistic panorama.
"Visionism" was the name I gave it, a word invented for a new creation. It came to light thanks to the fact that I was synchronized with chance, and since then it as been my operating mode of painting.
When I accidentally spilled a mixture of water and oil on canvas set horizontally on a table, I found that the result obtained was something that until then I had never seen in any work of art: the possibilities where endless.
The pictorial richness achieved in the process, revealed as being of an extremely stimulating subtlety and complexity, stimulating any un-conformed and creative mind that might be unhappy in what concerns the academic processes of composition, and eager for alternatives.
After the chaos of the chromatic stain resulting from this random process, the search for harmony arises, synthesized in the discovery of the ‘accidental' elements that call our attention and inviting the visionist for isolating them from the whole.
Like the sculptor who attacks the stone block in order to remove the excess material that surrounds the form he imagined, the visionist also removes the “superfluous” paint from the surface of the canvas in order to highlight his choice.
This process is a process of “deconstruction”, as the opposite of what is traditionally done in the elaboration of a classic painting, where colors and shapes are added during the work.
The visionist will remove the excess of information as a whole to achieve his end, synthesizing the essencial. His essencial.
The universalism of this principle is motivated by the fact that each one can find his personal call there, unique, unrepeatable, and always more exclusive the greater its complexity.
On the other hand, the personalization of the work is inherent to each one, since from the particular choice of colors according to their preferences, to the very gestural movement of his choice while spreading the paint on the canvas, it does not allow two equal results.
And once the technique is achieved, aesthetics must be defended.
That is why I invited the international art historian and critic Chakè Matossian to write “The approach to Visionism”, to be revealed at the 1st Visionist Exhibition of Fine Arts held at the “Convento do Beato” in Lisbon, in 1991, whose full content may be read after these words.
That same year, the internationalization of Visionism took place, officially, with the 2nd Exhibition taking place in New York, at the Jadite Galleries, and from where it went to Caracas, Venezuela, for its third and last presentation along these lines.
Visionism, since then, has been the creative process of his mentor, as well as of more artists who have adopted this process to express their truth.
Approaching Visionism, by Chakè Matossian
A manifesto gives an account, unveils, shows the sights and actions of a group. In writing. This necessary passage through spelling indicates an appeal to memory that does not exclude, however, a fundamental relationship with orality. In effect, this inscription, this visualization of memory, summons the oral when it is located outside the field of the binary confrontation between writing and speaking. Memory restores a buried life here, awakens mechanisms, the body that, in essence, escapes fixation, dominance.
So the here referred oral, does not refer so much to a speech but rather to what underlies it, to a vague, unspeakable zone, that is, the flavor, the taste. "Manifestus" means evident, in the sense of palpable, indicating the tactile root of the look. Seeing is never simply seeing and any visual (or theoretical) evidence results not only from a journey but also from a plot, from an intertwining of the senses.
Visionism works in the net and in coexistence, it moves forward, experiences the corporeality of vision, it is concerned with contentment in the spiritual posture, with the peaceful domain and minds, in some way, the blindness of the gaze.
It preserves the suffix "ism" simply to give the idea of movement that is essential to it, in the sense of a "shake" capable of accentuating the indeterminacy of the atmosphere; in the sense, also, of an opening to the conditions of micro-vertigo, of fleeting epilepsy.
The atmosphere is what as no face. It is something invisible that, however, is imprinted, reappears somewhere, at another time. The strength of the smallest, of the almost nothing that creates the atmosphere, comes mainly from the relationships that they entertain in a space and a time. Each variation generates an atmospheric differentiation. Visionism puts a series of elements, puts them in position. Painting, sculpture, music, clothing, text, exhibit a material, conceptual, stylistic difference, and yet they are involved, folded, in a movement that is a moment, a rhythm.
In this reticular organization, the public intervenes as an accident, causing an atmospheric change. Disorganized, it penetrates the atmosphere and reacts as an organism, in an inspiratory or atoning manner. It forms shape with the net, by grafting or autotomy, and therefore modifies the situation.
Moreover, this constitutive disorganization explains the proposal of "approximation". The approach determines simultaneously the welcoming, the openness to the other and the distrust, a tactical displacement. The approach is opposed to the drawing of a mandatory route, it indicates only one way of approaching the atmosphere, which, being invisible, is still the result of a conception.
Or better yet, the envelope, the dermis of an event built like a show, a machine. Changes are then produced, interpretations varying according to chronology and meteorology. There will be the clarity of the Sun or the broken light of the clouds, the noisy circulation of the spectators or the clandestine ambulation of a loner, there will be the compass and the spying…
When coasting, Visionists form a body and that body is born from a junction of bodies, from a growth in the metonymic way, from an agglutination. Composed of disparate elements, the body, this group, is at risk: what if nothing caught? The group-body, articulated machine, emanates its glue from its own grouping, it exudes its gluten and creates a mass, gives it a multiple and mobile shape that, in turn, distills a viscous film, one last impalpable skin, unattainable and yet so present, the atmosphere.
And this envisions the viewer as a particle clumping together. The folds, the agitation of the fabric and fiber, veil and unveil the image, become, like the dresses, annexes of the body-work. When wrapping the image, the folds give a final and changeable touch to the dermal surface.
It is important to note that the first encounter, the collage of the beginning, comes under the sign of the pasta. The Visionists' first host will be a pasta company and its first space will be the factory warehouse. Perhaps in this case one should see the presence of luck (fortune), that is, the encounter itself. It is the return of something that shows the link with the mechanic in the repetition. But, at the same time, this return consists of an appearance, an event inseparable from the atmosphere. In this sense, the encounter, which lies at the base of Visionism, weaves a close relationship with the sacred and demands, like the show, a ritual.
The image is put into representation and then requires a theater, a sacred or sacrilegious place.
The pasta warehouse finds its primitive architecture, it becomes a new cloister, a place where the unrepresentable Mysterium tremendum is read, a place, by all means, of the atmospheric.
The space is not reduced to a space destined to receive the works, to a garage, it interferes, it unfolds its strength, it distills its experience: the believer's murmurs, the workman's perspiration, the heavenly breath and the roar of the engines, without forgetting the burns caused by the fire, the scars left by the grafts or by the architectural surgeries and the transformations; or even, the wrinkles excavated by the winds and humidity…
For the Visionists, the walls have ears, as well as the eyes, hands and naricles. The place unfolds as a landscape of sensations that allows the atmosphere to come, that is, the visionist image.
The Visionist distinguishes himself from the visionary, his gaze does not anticipate, he seeks to capture. The visionist image resembles a stain that traps the eye, awakens the vital movement linked to the imagination. Sometimes the spot, blind spot, whirlwind of light and matter, is metamorphosed into a meditating eye, captures and captures. This capture corresponds to the encounter, it takes place in a specific temporality, the instant, the “kairos”, the propitious or critical moment. Taking mobility becomes the motive of the creative act.
The Visionist does not foresee, does not predict, he captures the moment. He views the world as if he were watching a film, with a view to assembling the series of instants, an operation in which the automated eye acts on the mobility of the image.
The inscription in time marks its relationship with the real and highlights the fact that the Visionist does not hallucinate.
He deludes.
The Visionist works on the movement of the image, the movement as a catalyst for the senses that make all elements present by being signs (especially when they seem “insignificant”).
The image that appears here results from an interaction and, therefore, the visionist image is not intended to be strictly visual or visible, but above all atmospheric.
The visionist’s image emerges in a global way, it seeks to stimulate the illusible faculty of Man, faculty on which his survival and the immortality of the specie depends.
The faculty at the origin of the full meeting.
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