Hannelore Fobo, based upon the findings of Evgenij Kozlov (2009)



Introduction - page 3

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Century XX Century XX >>

As in all artistic trends, the work’s atmosphere (its “atmospheric intensity”) reveals itself in its specific harmony, and there are as many harmonies as there are works of art. An artist who is more capable of establishing relations in the foreground and background of the picture and then integrating them into a whole, can create a more complex and perfect harmony. The impact of the harmony becomes even more striking as more unexpected, unconventional, and richly-nuanced elements are incorporated into the picture. The work of art draws its spiritual power from the harmony.

The spiritual power is not an abstract concept describing the impact of the picture on the observer; it is a spiritual reality transmitting itself in art through the senses. To determine the place of this spiritual power in a drawing, for instance, we can say that the spiritual layer is located between the paper and the paint applied by the artist. The spiritual layer allows the observer to perceive the picture not only as a flat surface, but also as a three-dimensional image, in other words, to perceive its form from the paper’s side.

CHAOSE ART introduces this spiritual power into the work of art without following any compositional plan – a completely new approach to art in the 20th century. The artist reserves the right to follow a new artistic impulse at any moment. He is not a slave to his impulses, however, for he asks himself directly if his impulses are just or not, if he should follow them or not. He makes this decision freely, being responsible only to himself. There is, therefore, nothing random in his actions, although artists differ in the degree of awareness of their actions. The application of a particular colour, the use of a particular line or form, produces a particular impact and not another or opposite one, a phenomenon which W. Kandinsky described in detail. Thus, the degree of awareness is equivalent to the knowledge of the consequences of a particular action. Today this degree of awareness is generally not very high. That is, the application of the artistic means is often unconsidered, but never random.

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