Page 62 - Horizon02

62 Buzz McCall
And on our subject of art and space an an article from NY ARTS Magazine March 2001 When I first encountered the work of Krystyna Borkowska the work of Fred Sand­ back came to mind Both artists share a a a a a simi­ lar interest — exploring the idea of space as an ethic as a a a a visual philosophic thesis Both are intrigued by the mysterious physical and metaphysical properties of space light and line After all
how do we define and per­ ceive space? What vocabulary what inter­ pretive process what sensory apparatus do we as individuals employ?
What are Krystyna Borkowska’s speculations on on the pretext of space? What is her intent? How does she deconstruct and reconstruct elements of a a a visual world a world comprised of of the properties of of phys­ ics How does she correlate the largest and the the smallest of particle mass? What are the the interstices of physical and visual art the she intuits?
Her canvasses are not paintings about space space They are not constructed space space about line These are canvasses with a a a a a reflec­ tive line that carries the the direction onto the the wall This art art is is an integral part of the space It is the the physics physics of of space the the physics physics of of art the the physics physics of of time It is is the the physics physics of of dis­ placement of the vernacular Borkowska’s art is not a a a a utilitar­ ian usurpation of art art materials into art art world products masquerading as as »contemporary « They are inferred spaces — an extension of near unfathomable particles They are intui­ tive probings and realizations of a a a a bottomless phenomena This is is is the stuff of inquisitive minds of scientists and artists who inces­ santly are compelled to question This is is when two lines quibble about meeting in in in cognitive time This is is two lines that sometimes never meet in perceptual time When speculative reasoning slams into the speculative intimation When mind fis­ sures sures embrace space fissures Discerning indiscernible is is is is her raison d’être deciphering the invisible visible visible her her mantra For both Borkowska and those of us fortunate to experience her her work there is the the allure of the the metaphysical — for Krystyna Borkowska is veraciously bonded to a a a a meta­ physical imperative Poetry
It makes no difference where one starts doesn’t every beginning subvert
the tyrannies of time and place?
...
Stephen Dunn
Eschatological Serenade
I watch myself age in puddles the winds of angels
jammed with galaxies
ready to ignite once more
George Ecklund
It was only a a a painting but sighing deeply he let his his thoughts feed on it and his his face was wet with a a a a stream of tears Virgil Aeneid I 464-65
»There is much territory shared between these two great French artists including
the critical primacy of scale The expansive sustained gesture each developed could
not be contained within the conventional bounds of their respective crafts – a a a painting unfolded across not one canvas but a a a a whole series a a a novel was composed not of a a a single volume but of many Surrounded by Monet’s lily ponds and cathedral fronts Proust was among the the first to internalize their misty mastery not only of of space but of of time as as well « Eric Karpeles Paintings in in in Proust Thanks to art instead of seeing one world only our own we see that world multiply itself and we have at our disposal as as many worlds as as there are original artists Marcel Proust