Expressing the imponderable with utmost precision
When I describe the transformations of space that are observed in Broadway Boogie Woogie, I speak of lines, small squares and larger areas of color, i.e., planes:
As I proceed in describing the different parts that make up the composition, I cannot help but separate individual parts from the rest. In truth, the geometry of the painting should be seen as an uninterrupted whole.
It is not the straight line or the small square that do this or that but, rather, the same space that manifests itself here in the form lines and there in the form small squares, that is to say, as virtually infinite space or as finite space.
One and the same space that with lines and small squares manifests itself as a dynamic structure that progressively concentrates into more stable and relatively durable larger planes which then reopen to the frantic straight lines.
Small squares and larger planes produce, stretch and transform, but we could say that they are produced, stretched, transformed by the spatial continuum of which they are part of.
Agent, action and thing acted upon
Space here is not a given empty entity that pre-exist to the parts which eventually fill it up; Neoplastic space is rather one dynamic entity that signals its becoming now through never ending lines and flashing small squares and now through relatively permanent larger planes.
In Broadway Boogie Woogie the agent, the action and the thing acted upon are parts of one inseparable process; a symbol of the vital energy that envelops, penetrates and flows from one thing to another and between all individuals and all natural forms in a single, immeasurable overall design that human thought cannot think of if not by dividing and separating one thing from another. It is a continuum in which every entity acting at one point is simultaneously acted upon by other entities. By necessity we isolate, divide and measure fragments of the whole by talking about subject and object, here and there, before and after, causes and effects.
Cause and effect
In Broadway Boogie Woogie cause and effect are two aspects of the same process and we should say, as certain Japanese sages say, that it is not the writer who writes the book, but the book that is written through the writer.
In everyday life we believe we respond to our intentions and it is true; but if we could observe things from another point of view, we would realize that our intentions do not always depend exclusively on our will. At the level of everyday life, each individual experience appears to be thought and willed autonomously and independently but, from another point of view, all individuals and their mutual on-going interaction turns out to be one flow of interconnected events that inscrutably influence each other.
An infinite process
I think of the space of Broadway Boogie Woogie in which I see a plastic representation of the incessant exchange of energy that, in every place and at every moment, is generated between living beings; each one subtracts a crumb of energy from someone and then gives it back to someone else. This kind of abstract abstract painting exhorts us to see existence as an infinite, dynamic process of an unimaginable variety rather than limiting ourselves to consider just a few parts of it as realistic or figurative painting does.
The visible and the invisible
Those circuits that are formed, those glances, those gestures that at every moment cross and are lost between individuals, in harmony or sometimes in open contrast with our inner space, are an example of that continuum in which it is not possible to separate one thing from another and inner from outer reality. Of this infinite structure, each of us is an infinitesimal part. We cannot grasp this reality as a whole, also because it is an open structure in constant transformation; however, it is very present and influences us through and on us.
How to represent such a reality? Fleeting and at the same time omnipresent; a flexible structure that continuously expands and contracts, made of visible and invisible parts; energy in constant transformation that relentlessly flows between individuals uniting them in one great breath that Japanese wisdom calls KI.
The pulsing geometry of Broadway Boogie Woogie is a snapshot of all this.
Painting makes concrete what in life, by its nature, eludes all definition.
Art can make visible what is impossible for us to stop and touch. I think of Paul Klee‘s statement:“art makes visible the invisible”.
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