[Previous entry: "Corporate valuez..zzzz..."] [Next entry: "M3SUMMIT"]
Wouldn't any of us like to know how?
An artist try to communicate.
Through writing.
Through music.
Through movies.
Through pictures.
Through.....
Sometimes he succeeds. Sometimes he does not.
When his expectation are high - he might not communicate at all.
When his expectations are low - he might communicate excellently.
Every artist has his own recipe.
Mine - for example - is simple shapes and bright colors.
Even when I write.
Even when I .......
You can't always believe what is written in newspapers.
But if it is written in a book, you have to believe it.
Or?
I would like to tell you about a new book.
It is written by the French author Alain Joannes, who lives in Paris.
It is called "Communiqu?s par l'image" - that's French and means
"how to communicate through pictures".
It was presented at the prestigious "Salon du Livre" in Paris in March this year.
To me it sounds like it's the new bible to artists, designers etc.
You can buy this new bible at Dunod.
Believe it or not,
one of the chapters in this new book is about my painting "soul hurting still".
I'll just show the draft of the painting and quote what the author writes:
The jubilation feelings given by forms and colors of Asbjorn Lonvig
By Alain Joannes
"soul hurting still"
Acrylic on canvas
201 x 139 cm, that is 79.2 x 54.8 inches.
Edition 5
Sold in Marcia in Spain
Inspired by Christmas 2002, North Jutland Art Museum where I saw Marc Chagall and Max Ernst, and by Native Art, American Native Art.
...the art of the Danish painter Asbjorn Lonvig communicates at the first glance euphoria in a rough state. A so intense euphoria that the glance can not move away from the piece of his art. Of course, the saturated colours are decisive in this very great glowing. The coloured dazzling and the feeling of pleasure which prolongs it have multiple causes. As adequacy between artistic creation and the constraints of communication, the art of Asbjorn Lonvig illustrates an assumption of neurocognitives sciences: the neurons in charge of visual perception are first activated by patterns recognition, then by colors recognition, then by recognition of textures and movements recognition. In a piece of art like "Soul hurting still ", the sensory impacts of the forms and the colors are very strong and equal. The pleasure comes from what the eye and the brain receive from the red, the yellow, the green and blue at the same time as they recognize the squares, the rectangles, the circles, the triangles, the straight and broken lines and even the letter ?A?. The glance thus filled by a profusion of feelings founds a generating mental state of pleasure. After and beyond the primary emotion, in a second phase of contemplation, the spirit endeavours to confer an overall significance on the table. It calls upon its repertory of already memorized forms. Then, the pleasure becomes ludic. Functioning like a rebus, the chart of an unknown territory, a coded language or a mysterious diagram, the piece of art asks to the witness: " What am I ?" The many possible answers are mental resonances which give to the artistic communication a richness higher than all the other ways to communicate. This communication is intersubjective. It organizes the meeting between the subjectivity of the artist and the subjectivity of the witness. The witness of the piece of art is free to refer to tropical sensory prints: association of a dominating solar yellow, sky blue, deep vegetal green. He can also associate the table with an intimate collection of primitive art. He shall perhaps remember the geometrical abstractions of Kandinsky and Mondrian. Surely, the piece of art will be kept in the long memory space into the brain with all its resonances sensory, emotional, ludic and cultural. It is may be interesting to know that the joyfull impact piece of art by Asbjorn Lonvig is closely related to its is canvassed artistic. High level data processing specialist then head of a software company, the painter found serenity in a pictorial creation which starts with digital drafts and finds its completion on a support ? frame and fabric - entirely conceived and manufactured by the artist.
...and for the French in France, the Canadians in Quebec and Montreal etc.:
Formes et couleurs jubilatoires d?Asbjorn Lonvig.
Par Alain Joannes
...ce que l?art du peintre danois Asbjorn Lonvig communique d?s le premier coup d??il, c?est de l?euphorie ? l??tat brut. Une euphorie tellement intense que le regard s?en d?tache ? regret. Bien s?r, les teintes satur?es jouent un grand r?le dans cette jouissive rutilance. L??blouissement color? et la sensation de plaisir qui le prolonge ont des causes multiples. S?agissant de l?ad?quation entre la cr?ation artistique et les contraintes de la communication, l??uvre d?Asbjorn Lonvig illustre une hypoth?se des sciences neurocognitives, selon laquelle les neurones en charge de la perception visuelle s?activent d?abord sur la reconnaissance des formes, puis sur celle des couleurs, celle des textures et des mouvements. Dans une ?uvre comme ? Soul hurting still ?, les impacts sensoriels des formes et des couleurs s??quilibrent. Le plaisir vient de ce que l??il et le cerveau re?oivent du rouge, du jaune, du vert et du bleu en m?me temps qu?ils reconnaissent les carr?s, les rectangles, les cercles, les triangles, les lignes droites et bris?es et m?me la lettre A. Le regard ainsi combl? par une profusion de sensations instaure un ?tat mental g?n?rateur de plaisir. Au-del? de l??motion primaire, dans une seconde phase de la contemplation, l?esprit s?applique ? conf?rer une signification d?ensemble au tableau. Il fait appel ? son r?pertoire de formes d?j? m?moris?es. Le plaisir devient alors ludique. Fonctionnant comme un r?bus, la carte d?un territoire inconnu, un langage cod? ou un myst?rieux diagramme, l??uvre questionne le spectateur: ? Que suis-je ? ? Les nombreuses r?ponses possibles sont les r?sonances mentales qui donnent ? la communication artistique une richesse sup?rieure ? toutes les autres formes de communication. Cette communication est intersubjective. Elle organise la rencontre entre la subjectivit? de l?artiste et la subjectivit? du spectateur. Ce dernier est libre de se r?f?rer ? des empreintes sensorielles tropicales: association d?un jaune solaire dominant, bleu qui ?voque le ciel, vert qui renvoie ? une v?g?tation luxuriante. Il peut aussi associer le tableau ? sa collection intime d?art primitif. Rien ne l?emp?che d?invoquer les abstractions g?om?triques de Kandinsky et de Mondrian. Une chose est s?re: l??uvre sera rang?e dans la m?moire longue avec toutes ses r?sonances sensorielles, ?motionnelles, ludiques et culturelles.Il est int?ressant de savoir que l?impact jubilatoire de l??uvre d?Asbjorn Lonvig est ?troitement li? ? sa d?march? artistique. Informaticien de haut niveau puis chef d?entreprise, le peintre a trouv? la s?r?nit? dans une cr?ation picturale qui commence avec des esquisses num?riques sur ordinateur et trouve son ach?vement sur un support ? ch?ssis et toile ? enti?rement con?u et fabriqu? par le signataire de l??uvre.
...and for the Danes, in Danish as a service to my own folks:
Abj?rn L?nvigs jubelkor af former og farver.
Af Alain Joannes
...det, som den danske maler Asbj?rn L?nvigs kunst formidler fra det allerf?rste ?jekast, er rendyrket eufori. En eufori, der er s? intens, at ?jet har sv?rt ved at give slip. De m?ttede farvenuancer spiller selvf?lgelig en stor rolle i denne gl?dens brillans. Den flamboyante farverigdom og den f?lelse af gl?de, der kommer i forl?ngelse heraf, har mange ?rsager. Hvad ang?r overensstemmelsen mellem skabelsen af kunst og kravene til formidling, illustrerer Asbj?rn L?nvigs v?rk en hypotese fra de neurokognitive videnskaber, if?lge hvilken de neuroner, der er ansvarlige for synsopfattelsen, f?rst aktiveres i forhold til genkendelsen af former, dern?st i forhold til genkendelsen af farver, strukturer og bev?gelser. I et v?rk som ?Soul hurting still? indfinder der sig en balance mellem sansep?virkningerne fra former og fra farver. Gl?den kommer af, at ?jet og hjernen modtager r?dt, gult, gr?nt og bl?t, samtidig med at der sker genkendelse af firkanter, rektangler, cirkler, trekanter, lige linjer og brudte linjer og s?gar bogstavet A. ?jet, der s?ledes fyldes af en overd?dighed af sanseindtryk, fremmaner en mental tilstand, der genererer gl?de. Hinsides urf?lelsen bestr?ber sindet sig i iagttagelsens anden fase p? at give maleriet en samlet mening. Her l?ner sindet sig op ad det repertoire af former, der allerede har indprentet sig. Gl?den f?r et anstr?g af leg. V?rket, der fungerer som en rebus, et kort over et ukendt territorium, et kodet sprog eller et mystisk diagram, sp?rger iagttageren: ?Hvad er jeg?? De mange mulige svar er de mentale resonanser, der forlener kunstens formidling med en rigdom, der er alle andre formidlingsformer overlegen. Denne formidling er intersubjektiv. Den foranlediger m?det mellem kunstnerens subjektivitet og iagttagerens subjektivitet. Iagttageren kan frit referere til f.eks. tropeinspirerede sanseindtryk: associationerne fra en dominerende solgul farve, en bl? der f?r ham til at t?nke p? himlen, en gr?n der minder ham om frodig vegetation. Maleriet kan ogs? f? ham til at associere til sin private samling af primitiv kunst. Og der er intet, der forhindrer ham i at komme til at t?nke p? Kandinskys og Mondrians geometriske abstraktioner. En ting er sikker: V?rket bliver lagret i langtidshukommelsen med alle dets sanse-, f?lelses-, legeimpuls- og kulturresonanser. Det er interessant at vide, at gl?desp?virkningen fra Asbj?rn L?nvigs v?rk er t?t forbundet med hans kunstneriske fremgangsm?de. Maleren (datalog p? h?jt niveau og siden virksomhedsleder) har fundet ro i en billedskabelse, der begynder med digitale skitser p? computeren og f?rdigg?res p? et fysisk underlag - ramme og l?rred - der designes og fremstilles helt fra bunden af maleren selv.
AWESOME!!!
Don't you think.
I ought to buy all the impression of this book.
Thanks to....
Alain Jaonnes
Author
Paris
France
Frank Maguire. on Tuesday, April 12th, Ellen Fisch said There is a time when an artist must speak up for him/herself. While promoting an excellent book by Alain Joanes, Abjorn Lonvig has included some of himself. Why not!! And writing in multiple languages adds texture and stimulation!! Loved the image, too! Great blog....would that we all communicated with each other and our work...or through each other and through our art. on Tuesday, April 12th, Ellen Fisch said There is a time when an artist must speak up for him/herself. While promoting an excellent book by Alain Joanes, Abjorn Lonvig has included some of himself. Why not!! And writing in multiple languages adds texture and stimulation!! Loved the image, too! Great blog....would that we all communicated with each other and our work...or through each other and through our art. on Monday, April 11th, Ellen Fisch said There is a time when an artist must speak up for him/herself. While promoting an excellent book by Alain Joanes, Abjorn Lonvig has included some of himself. Why not!! And writing in multiple languages adds texture and stimulation!! Loved the image, too! Great blog....would that we all communicated with each other and our work...or through each other and through our art. on Sunday, April 10th, Paul said There comes a time in the life of every artist when chasing rainbows round corners, thinking everyone has the answer but oneself,searching for mor answers comes to an end and one can get on with the work in a more or less self contained state of mind,we never really stop enquiring but that enquiry goes on within the dialouge of your own work.Also I feel that the repeating of the above blog into 3 different languages is a bit over the top,and an art reveiw of ones own work as well,sureley this page is meant to be more than blowing your own trumpet about how great you are,or how good your work is,anyway thats subjective,and often artists who do sing this tune do so at the expense of usually the very work they are going on about. on Saturday, April 9th, Writing said Yes communication is a wonderful thing. Too bad the writing in the above blog has run-on paragraphs that scew the descriptions. Writing with that much meaning, and has that much to say, should be broken into smaller paragraphs to yield higher cognition.
