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



Introduction - page 4

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From this statement, it follows that although there exist more mature, more complete, more powerful works in CHAOSE ART, there are no failed works at all, for, due to the lack of a compositional plan, the work of CHAOSE ART develops its own composition in the process of creation. This is the most essential point of CHAOSE ART, because it means that, intentionally or unintentionally, each work of CHAOSE ART is oriented towards harmony from the very beginning. It is this paradox of CHAOSE ART that makes the assessment of its works so difficult.

To assess the skills of an artist, one must eventually define criteria explicitly related to the artist’s creative means, that is, to the picture’s aesthetics, for, as was said above, in CHAOSE ART the message and the form coincide. It is impossible to skip or forego the work’s aesthetics in favour of the message or intention of the artist, for such an approach will destroy the holistic understanding of CHAOSE ART. Analytic positions may come first in conceptual art, but in CHAOSE ART they are of secondary importance, for in CHAOSE ART the picture becomes itself again, resigning its function as a symbol or a cipher to some idea and ceasing to be a banner carried in front as an ideological manifestation.

The idea, however, is not absent. It is present, but in another way, as the creative thought impressed in images, not as the analytical thought wrapped in symbols. The analytical thought struggles to explain and educate about the world. In art, it leads to vapid symbolism and forced allegories. The creative thought, on the other hand, creates new images and therefore new worlds. The creative thought in itself is not moralizing, if we take the concept of “morality” only in its narrow educative aspect, nor does it try to convince anyone of anything. Despite that, it is moral on a very large scale, because each creation gives birth to a new world, which has implications for us.

The work of art is by no means a solely tangible product. Like any human action, it produces spiritual phenomena, although they may not immediately become evident in the tangible world. In this respect, the artist bears an absolute moral responsibility for his work. But he feels this responsibility only to his work, and not to his critics or recipients. In other words, he is his own critic and recipient, as he, image by image, creates an ostensible chaos.

© Hannelore Fobo, October 1st 2009

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