"The camera is an instrument that teaches people how to see without a camera." --Dorothea Lange The artist and the photographer are in the habit of noticing, in detail, their environment. They observe with intent. They remember details and record them. The colours, shapes, textures, compositions--they notice the contrasts of light and shade and the infinite number of colours and combinations of colours. When these colours and combinations are 'just so' they trigger a blissful response in the brain chemistry. I can remember being very moved by the colours in my Mother's silk scarves and the jumpers she knitted--beautiful earthy tones to sooth the savage beast.. Its all too beautiful--the plain grey background showing off a flashy feature, an autumn leaf, the feel of a thing, the happy sky above.. Because of this practiced observation the artist's perception becomes refined and, with the addition of TM to their tool-kit, perception becomes more celestial. They fall in love with the delights nature offers up and they want to re-create them in order to own them, immortalise them, and share them. They pour all their attention, in the form of love and joy, into their re-production-- and this love, once it goes into the work, stays there forever--it is locked away. Their fascination with that little law of nature, once recorded on canvas or film, fades somewhat, and they move on to other loves. They keep painting picture after picture--one fancy after another. Its a trip. Nevertheless yesterday's painting remains as full as it was in the freshness of the artist's conception and is always ready to welcome new eyes to appreciate it--that same love that went into it initially now inspires and uplifts whoever sees it (to the extent that it can--it enlivens that level from whence it came). Thus the artist practices and, in the natural tendency of more and more, his standards rise and reflect more of the divinity he wants to express. He pictures reality, makes a little imitation of reality and reminds us of the subtleties of life--it is the lie that tells the truth. He is packaging God and making it available to others. All he has done is to draw attention to something he has noticed--he has framed it, published it, and says, 'this is to be looked at'. A guitarist makes music out of noise and brings harmony and joy to others. A wordsmith writes to entertain and to educate. Parents raise children on a diet of love and affection and these divine qualities multiply and expand generation after generation. Whatever we do in life it is therefore necessary to first contact the home of unbounded love and bliss so that we have it to give in the first place. The artist can only express what is inside--if he tries to fake it, makes something beautiful when he is not feeling beautiful, it does not ring true. Some intangible X-factor is missing. The artist is saying, by his many works, 'God is here', 'God is there', and 'God is also there'. God is everywhere if you look well. So his is a life of celebration of the highest order. We can all get high doing things we love. The Vedic artist is a yogi first and an artist second--therefore he seeks God twenty four hours a day. He sees a tree with a regard for its aesthetic beauty. When he looks at the old oak tree he transcends and worships it. He then paints it in such a way that others can see what he has seen--he creates some sublime feeling of awe and grace to fulfil his purpose. When a carpenter or a wood merchant sees the same tree he looks at it in a different way according to his calling. A hungry man is looking for fruit, another man wants shelter from the elements--we see it differently. We can see it in any way we want. Jai Guru Dev Richard Barnes Australia https://richardbarnesart.wordpress.com
We would like to thank ALEX AND ANI for their collaboration with the David Lynch Foundation on the NEW Meditating Eye Collection! Close your eyes and settle deep into stillness—into the field of limitless possibilities within you. Open your eyes and your mind is clear, creative, focused.
ALEX AND ANI is donating 20% of the purchase price of each Meditating Eye sold to DLF. This support helps DLF address the epidemic of trauma and toxic stress among at-risk populations. With the holiday season approaching, the Meditating Eye will make the perfect gift for your loved ones. Give the gift of peace this season.
Application: “Sketch”on Sony Xperia smartphone, finger and pen.
Yesterday a new article about the acclaimed painter and sculptor Kuno Vollet appeared in the German art magazine MUNDUS (1/16).
You can download the PDF version here: https://drive.google.com/file/d/0BxflUqnixj48SkFlNzFNODBacG8/view
Primal Symbol of Life
New Works by Kuno Vollet
Author: LENA NAUMANN
“Even if your circle is unremarkable, narrow and small, fill it with your entire being, strive to be a good person,” wrote the Greek poet Homer in the 8th century BC. This passage is the oldest record in the history of Western literature of representing the circle as a space within which the individual life takes its course. Even today, the concept of the circle of life remains proverbial. Indian philosophy knows a very distinctive symbol for this: the mandala. At birth, the human being emerges from the center of the circle, moves toward its outer edge — which symbolically stands for the flower of life — and is then once again submerged in the center at death.
The circle and its center are among the primal symbols of life. The circle can be thought of as a point that inflates itself, permits the dimensions of time and space to flow into it and then subsequently withdraws back into itself. The form of the mandala is to be found in atomic physics, in the electrons’ dance around a nucleus, and it is also to be found in the cell, the fundamental building block of organic life, which receives all of the information for its diverse structures and functions from the nucleus resting within it. We are confronted with this primal pattern of the universe in every solar system and spiral galaxy — and also in the calyxes of flowers, in whirlpools, snails’ shells and hurricanes.
Nothing and Everything
It is these considerations that have inspired the painter and sculptor Kuno Vollet in developing his new works, particularly the new series Creatio continua (Continuous creation). These pieces consist of ceramic plates around 12 in. (30 cm) in diameter, which the artist has deliberately composed as symbols of Creation: The visible textures are relatively coarse in the outer area and become more and more refined towards the middle, until they end in a gold-leaf ring. The color of this golden border has been chosen deliberately by the artist, because the significance of “emptiness” is to be emphasized through it. This can be understood in terms of quantum physics or also Taoism, entirely in the sense of Section 11 of Lao Tzu’s Tao Te Ching: “Thirty spokes converge upon a single hub; it is on the hole in the center that the use of the cart hinges. Shape clay into a vessel; it is the space within that makes it useful. Carve fine doors and windows, but the room is useful in its emptiness. The usefulness of what is depends on what is not. Thus, according to the artist’s understanding, what is found inside the golden border is … nothing — and therefore everything! His ceramic sculptures are equally symbols of cosmic processes and of human life. However, they are compelling not only on account of their inherent significance, but also through their great aesthetic beauty.
The Alchemist among Glazes
Kuno Vollet received his education as an artist — among other places — at the Kunsthochschule Kassel, where he was a student of Professor Werner Gnegel. Gnegel is an internationally prominent specialist in the mastering of crystal glazes, which are the most elite discipline of porcelain and ceramic glazing: very delicate to handle, difficult to develop and even more difficult to master. This type of glaze — enriched with pigments, copper powder and other chemicals — is applied after the greenware’s initial, bisque firing. The characteristic optical effects emerge during the second firing, which is carried out at around 2240°F (1280°C): According to the thickness and composition of the glaze, they are reminiscent of ice crystals and appear at some points to be of a seemingly almost infinite depth and transparency. These effects are unique and invest objects featuring a crystal glaze with that sense of the noble and archaic which is also the essence of the secret behind their irresistible beauty. This is also the reason why there is such great demand for the objects from Vollet’s series Creatio continua: His most recent works can be seen and purchased at the three art fairs ARTe Sindelfingen (January 14–17, 2016), ART Innsbruck (January 28–31, 2016) and the artexpo NEW YORK (April 14–17, 2016) as well as at the Galerie Vera Lindbeck Isernhagen (until December 20, 2015) and, simultaneously with the ART BASEL Miami Beach, at the One Art Nation Wynwood Gallery in Miami (December 1–31, 2015).
Object: Creatio continua #12, 2015, ceramic with crystal glaze and gold leaf on iron stand, 15 in. (38 cm) – Kuno Vollet
Object: Creatio continua #41, 2015, ceramic with crystal glaze and gold leaf on iron stand, 11 1/2 in. (29 cm) – Kuno Vollet
Painting: Creatio continua #3, 2015, gold leaf, mixed media/copper, oxidized iron on wooden panel, 23 1/2 in. x 23 1/2 in. (60 x 60 cm). – Kuno Vollet
Close-up of the effects of crystal glaze
Interested in buying Kuno Vollet’s artworks?
Please contact: firstname.lastname@example.org
Do you like “Urban Sketching” and “Artist Journaling”?
Nina Johansson published this video: “Parallel sketching – Lapin sketching Kiah Kiean sketching the Barcelona cathedral. Filmed during The 4th Urban Sketching symposium in Barcelona 2013.”