Alexander Korosteloff
Concerning the new direction in the art.
We have found correspondence between a surface and a sound, we have found correspondence between a line and a sound and now we can correlate a surface and a line ourselves! Its an exciting prospect: you know, you can obtain color through a line, i.e. to get not only a new direction in the art but to combine two components of this direction (a spot and a line) together!
|
Surface - sound |
Surface - line |
|
Line - sound |
Smooth and sharp turns.
Lets make a distinction between two different turns of the line: while a smooth turn supposes smooth exterior influence, a sharp turn means an impulse. The bigger angle of rotation is, the bigger impulse we have. Therefore a surface with lines with sharp turns will be impulsive, energetic in contrast to the surface with the soft smooth line.
Pulsatory surface.
But the color surface is also a periodically pulsatory surface. Therefore to get the analogue of the color surface we have to set impulses with the definite frequency: turns through equal distances.
Pulsatory surface and color.
But how can we correlate frequency of the line turning with the frequency of color? Sound and color we have correlated by means of octaves: its comfortable, because a spectrum is precisely one octave. In that case we used frequency, in this case we can use wave length: because both things are visual!
|
COLOR |
- frequency - | SOUND |
| - wave-length - | LINE |
|
Color |
Wave length, nm |
Stroke length, cm |
Stroke length, cm |
|
RED |
700 |
9 |
4,5 |
|
ORANGE |
600 |
8 |
4 |
|
YELLOW |
555 |
7,5 |
3,7 |
|
GREEN |
500 |
7 |
3,5 |
|
BLUE |
470 |
6 |
3 |
|
VIOLET |
400 |
5 |
2,5 |
Thus: color surface may be replaced by colorless surface, that is evenly shaded with pulsatory line. Shading octave must be parallel to the spectrum octave and the stroke length must correspond with the wave length of the parallel color.
Graphical painting.
We can see a new branch in the art - graphical painting. This branch as usual one has three different directions: figurative painting, formalism, conceptualism.
| Graphical painting: RED | ||
| image | conception | form |
 |
 |
 |
In conclusion.
Abstract art is a basis of any image and stain and line are a foundation of visual artistic form. Finding some new stain or line is the task of an artist. There were very few discoveries here for all history of mankind.
We can remember Cezannes color, plane stains of Matisse and his wire graphic line; Malevitchs geometry and black shade; Mondrians rhythm; Pollocks expression and naturalism; Rothkos mildness of color passages and contours of Motherwells stains. We can remember Lichtensteins spots, Agams changing surfaces, Fontanas holes and scratches, and also monochrome, bronzed and burnt surface of Yves Klein. There were transparent, soft, and salty surfaces. There was freshness, laser rays in the sky and thin, long thread tied of womans hair. And now, here is the new kind of form. Painting and graphic, stain and line. We can be satisfied that could unite these two components.
