Hidden Reality 2009

My imperative in “Hidden reality” was to make a symbiosis between a given and a hidden (the other) reality.

By experimenting with materials, I came to a solution implying the problem of spacelessness and timelessness of that reality, and the limit between the given and hidden reality, all this expressed via non-painting materials rather than via sculpto-paintings.

Exiting the real world and creating, in his opposite, a world of one’s own essence that is existing (similar to the Platonic-sense world of ideas, which exists independent on the real one – in its own right – and where amorphous matter is shaped from it through intuition: to give it a concrete form that is defined/set/that exists in the real space and time), is creation of another otherness in the category of space and time.

This (our) reality is mimesis (imitation) of another hidden reality that might be the equivalent of the given one. Yet, some categories do exist in one that does not apply in the other. An art work as a separate activity is transfiguration in that case.

That would be confirmed by the Pre-Socratic theory that applied in the antiquity times and according to which, the artist was only a medium of the divine.

Space and time are the forms of intuition. To comprehend intuitively means to place something in space and time sequence. But where spacelessness and timelessness we possess are represented in intuitions, nothing is shaped there in space and time.

Therefore, I reduce reality (that, hidden one) to a unique category of spaceness, as well as a category of time, which can be perceived intuitively only through space.

Introducing a completely new structure where the matter itself is pure and exists in the world per se, beyond shape, beyond time and space, sets the very notion of a boundary between the given and hidden realities.