Natalie Frisinger
Advanced Painting
Project 1 Statement
In the pursuit of spirituality in
art, my series was powerfully influenced by certain implications of Jakob
Böhme’s theological exploration on the nature of man’s existence. Though his
orthodox Christian beliefs have a heavy hand in his hypotheses, Böhme
compellingly argues the importance of art and the nature of colors in the
purpose of the existence of matter. Utilizing my personal spiritual leanings,
which find their roots both in ancient Peruvian and Indian practices, my series
utilize the chakra system in the exploration of my subject and my relationship
to the subject.
In relation to the exploration of
Chakras as energy access points to the physical body, one is thrown into the
world of crystals and their ability to carry energies, which mimic the specific
vibrations of the respective Chakras. Thus, in the assessment of this specific
relationship I selected Vanadinite and Azurite. The former constitutes a
crystal that corresponds with the sacral chakra: creativity, desire, emotion,
intuition and sexuality. Moreover, the specific crystal enables drive and
intuition whilst allowing a connection to the root Chakra (grounding, stability
and physical drive). The latter corresponding with the third-eye Chakra
represents a tempering of the mind and release of stress and confusion as well
as the alleviation of worry and indecision that “lingers in the back of
consciousness”. These were selected not only as a representation of the subject
but also as a reflection of the self through the subject.
The smaller pieces are examinations
of the implications of these respective crystals through color. Here is expressed a more specific assessment
of the form of these crystals both in their refined and unrefined states. The
medium used for these smaller-scaled pieces was carefully selected in an
attempt to explore the interaction of light within the crystal forms. Thus
relating back to Böhme’s theories, which contemplated the polarity of the world
as the division between good and evil, light and dark; that light was
humanity’s only glimpse of the divine and that art should be humanity’s way
back to this divinity. This constitutes a significant element in my spiritual investigation,
that through the self, our connection to others and artistic expression, one
finds an exploration of the divine.
In sharp contrast to this, the
larger piece discards the specific form of the crystals while attempting,
through comparable color schemes, to capture the essence of the crystal without
specifically replicating its form. The molten, water-like arrangement that
fills the human form attempts to enhance the sensibility of the expression of
the subject’s character (and thus, my reflection in this character).
Furthermore, the intersection of light and dark moments in the background
(which appear hazy and smoke-like) are an abstract exploration of sage smudging
and the cleansing of the body and soul of negativity (whilst also paying homage
to Romanticist paintings which explore Böhme’s theories on light). Sage
smudging represents the bringing of clear energy, hence attempting to solidify
the piece as an exploration of divinity as well as one of personal relationships
and the self.
·
http://www.theosophyforward.com/theosophy-and-the-society-in-the-public-eye/411-the-influence-of-jacob-boehmes-theosophical-ideas-on-the-farbenlehre-theory-of-colors-by-philipp-otto-runge (reading
on Philipp Otto Runge and the influence of Jakob Böhme)
·
Book- The Celestial Property by James
Redfield
·
Glenn Brown
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