Just think about it! (24)

I enjoy creating and posting abstract images and often feel that it would be appropriate to attach the following extract from Kandinsky:

‘The spectator is too ready to look for a meaning in a picture—i.e., some outward connection between its various parts. Our materialistic age has produced a type of spectator or “connoisseur,” who is not content to put himself opposite a picture and let it say its own message. Instead of allowing the inner value of the picture to work, he worries himself in looking for “closeness to nature,” or “temperament,” or “handling,” or “tonality,” or “perspective,” or what not. His eye does not probe the outer expression to arrive at the inner meaning. In a conversation with an interesting person, we endeavour to get at his fundamental ideas and feelings. We do not bother about the words he uses, nor the spelling of those words, nor the breath necessary for speaking them, nor the movements of his tongue and lips, nor the psychological working on our brain, nor the physical sound in our ear, nor the physiological effect on our nerves. We realize that these things, though interesting and important, are not the main things of the moment, but that the meaning and idea is what concerns us. We should have the same feeling when confronted with a work of art. When this becomes general the artist will be able to dispense with natural form and colour and speak in purely artistic language.’                                                                                                                                                                                    (Kandinsky  Concerning the Spiritual in Art)

What can I see?

In The Little Book of Contemplative Photography, the author, Howard Zehr, suggests an exercise that I find very helpful, especially to enhance my understanding of  images  –  including my own.  He suggests that once a week we spend at least 10 minutes with a selected photograph and then, he instructs;

‘As you do, consider three topics in this order:

1   I see (Describe: examine each object, each detail, the light etc.  The associate: what are you reminded of by the shapes, juxtapositions etc?)

2   I feel (What do you feel as you look at the image?)

3   I think (Interpret and analyse)’

Obviously it is intended that the sequence can be applied to any photograph or work of art (or, indeed, any aspect of life!) but, for now, I invite you to examine the two pictures of the small sculpture below:

I recommend Zehr’s book.  It is a slim volume, cheap, and includes a number of useful exercises.