artistic approach-Baramó

      If the act of creation had an address, it would be located in the continuum …
      The work of art is an exercise in harmony, at least I think so. It has the energy to liberate to varying degrees. This energy depends on the proximity to Harmonia, the ancient Greek goddess of harmony. Harmony touches our hypersenses and crystallizes into a possible metalinguistic visuality of the work. I like the polyphonic sounds - polyphony as the property of one sign to have multiple meanings.
       When creating a work of art, feeling and thinking alternate as a corrective to each other. Freedom of improvisation on the axis of meaningful and balanced composition and monumental appearance, regardless of the format. The genesis of my creative interpretation is not chronological. In the working process I do not close the projects but continue to enrich them with the present ones. I embrace the ideas of Fluxus and the Renaissance multitalented personality concept.  
      My art does not depend on pro- or anti-traditional elements but rather on the psychological and plastic problem of the work. Experiment is an important part of creative practice; in parallel, I paint from nature in search of new structures. I am inspired by "symmetry" in nature, by moments open to contemplation that deconstruct and reconstruct nature, preparing it to be transformed through the subjective and reach pure abstraction ...        
       "There are no facts, only comments and interpretations." The Nietzschean philosophical platform I am attuned to introduces the Apollonian and Dionysian aspect of art, thus marking two antagonistic spheres of life. Apollo is the god of clarity and reason, Dionysus - of spontaneity and temper. In this way a binary opposition shows up: static vs dynamic, moderation vs passion, law vs freedom, etc. In this sense, I am trying to identify the spirit of Apollo in the Dionysian state and the skirmishes between them.

The different elements in my compositions do not seek to be recognised as things but as correlative references. Idea is more important than visual perception. It is far from the principles of impressionism: "I paint what I feel." My paintings are based on the maxim: "I see and I paint what I know", and keep for myself the idea of the "innocent eye" as a tool for synthesis. 
I observe the dialectic  between the two poles, and the choice of topics is in the following direction:
∎ antropocentered
        ⊛ levels of perceptions and memory properties; ”Remaining & Passing Landscapes” project
        ⊛ the spiritual journey as a test of free will; “The Architect” project;
        ⊛ spiritual and somatic correlation; “States” project;
        ⊛ identification modules; "Nomads" project;
        ⊛ communication and alienation;  "Monologues" project;
        ⊛ the human being and the traces he leaves (on others and nature);
        ⊛ Mobiles (Dyonisian) and toposes (Apollonic), which relate to the fundamental movement and the moving beauty concept of Plato; "Homo Saltans" project;
∎ transcendent
        ⊛ parallel realities; "Monads" project;
        ⊛ absent Presence and mimesis; "Anthropocentimetries"project;
∎ ethics and aesthetics
        ⊛ separation between nature and culture (the deconstruction concept of Derrida)
        ⊛ works in commemoration of great artists and personalities
... And if the continuum had coordinates, it would be located beyond the rabbit hole in the act of creation.

Baramó

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ELITSA BARAMÓ

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