Painting is like silent poem, said Simonides, poet from ancient Greece.Paintings are icons, doors to the Platonian world above the heavens. Paintings on my blog are just those icons, which lead a viewer into the magic world of harmony and beauty. Artists who present their achievements on my blog have a very different cultural and national background, they represent variety of artistic traditions and schools
West instinctively rejected the traditionally passive nature of the relationship between artwork and viewer. Being equally opposed to the physical ordeal and existential intensity insisted upon by his performative forbears (such as Actionism), he made work that was vigorous and imposing yet free and light-hearted, where form and function were roughly compatible rather than mutually exclusive. In the seventies, he produced the first of the small, portable, mixed media sculptures called “Adaptives” (“Passstücke”). These "ergonomically inclined" objects become complete as artworks only when the viewer holds, wears, carries or performs with them. Transposing the knowledge gained with these formative works, he explored sculpture increasingly in terms of an ongoing dialogue of actions and reactions between viewers and objects in any given exhibition space, while probing the internal aesthetic relations between sculpture and painting. (gagosian.com)
West instinctively rejected the traditionally passive nature of the relationship between artwork and viewer. Being equally opposed to the physical ordeal and existential intensity insisted upon by his performative forbears (such as Actionism), he made work that was vigorous and imposing yet free and light-hearted, where form and function were roughly compatible rather than mutually exclusive. In the seventies, he produced the first of the small, portable, mixed media sculptures called “Adaptives” (“Passstücke”). These "ergonomically inclined" objects become complete as artworks only when the viewer holds, wears, carries or performs with them. Transposing the knowledge gained with these formative works, he explored sculpture increasingly in terms of an ongoing dialogue of actions and reactions between viewers and objects in any given exhibition space, while probing the internal aesthetic relations between sculpture and painting. (gagosian.com)
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