The New Dynamic Structure
1. The almost accidental discovery that art emerges unexpectedly disturbs our common sense and provokes in us an uncommonly critical attitude. Theoretical contemplation is only dangerous to the
artist when it is speculative, i.e., when the sensation of the finished work does not both anticipate and follow the work. I have never hesitated to reflect on my own work.
2. Contemporary painting, which has overcome the mannerism of geometric abstraction, finds itself in a disorganized state, i.e., one of giddiness, after finally finding its own champions.
3. The following essay is based not only on my own work but on a new concept of painting.
When we talk about painting we are talking about color. First, last, and always, the ultimate significance a color can achieve is that it fulfills its own unique creative function; only then can it attain its freedom, its greatest intensity; color is itself!
If I set one color in contrast to another, I may possibly intensify the first, but at the same time I am restricting its freedom, because there is a governing relationship between the degrees of intensity and dependence. A color can have several meanings. However, its virtual objectification, i.e., its intrinsic energy, is achieved when it strikes its own vibration; that is its life, its breath. (Leonardo da Vinci or Mondrian, for example, sought the "balanced relationship" between different color spaces, not color contrasts.)
The possibility of expressing "one color by all colors" must be contrasted with the possibility of expressing all colors through one color. This idea makes sense only because it is possible to bring one color into play so that it becomes completely self-sufficient. We can achieve such intensity of color vibration through a continuum of deviations from an ideal monochrome, or through a continuum of graduated value of the same. The primary condition for vibration of color is that some elements remain stable throughout chromatic modulation; in this way color is given its freedom.
I impart vibration to a color, i.e., I give the color structure, or I give the color its form. There is nothing more to say regarding the notion of "form" in the traditional sense. Overcoming polychromaticism through color itself means that we must give up composition in favor of a simple structure zone, i.e., the simple "coming together" of all creative elements. The painter accomplishes unity in a work, among other means, by knowing precisely the function of each simple constituent; in the place of "interesting" detail we substitute a completely insipid structural element that is only meaningful when it is related to the whole. In this way the structural element achieves its individuality, its unique significance.
To speak of such an element by itself is meaningless. (The "images within the painting," the "effects," the predomination of isolated single forms, do not exist any more.) In other words, "structure" in the sense of "unity," overall form, is destructible, but its elements remain in their unadulterated diversity. Once this is recognized it will mean exciting results for the painter.
To me such an element of structure is, for instance, a number of parallel straight lines in a horizontal or vertical arrangement. The pattern of such lines is infinitely variable; the principle involved is the simultaneous and recurring sequence of the lines. (These lines need not be exact.) Every zone in between two lines displays an immensely rich color - form structure; accidental creation is given a real chance - the lines arrange themselves. Individual parallel zones gradually transform themselves from zone to zone, while at the same time they retain their distinct but mutual character- in this way they are brought into vibration.
The artistic method in this case is an open mechanical arrangement. The mechanics of artistic activity get stimulated and directed by the sensitivity of the artist's hands - hence it escapes the danger of mechanical repetition, which continues to be uncreative. In principle, all parallel zones have the same intensity of presence.
Consequently there is nothing more to be said about composition or variations of formal themes. These are contradictory to the pictorial structure, which is dynamic. Parallel zones have not only a static but also a dynamic being. The dialectics of static and dynamic elements produce virtual vibration, i.e., pure, perpetually creative movement, which cannot be found in nature. It is free of all suggestive illusion; it is directionless and therefore never finalized. Time cannot be actualized in it.
After twenty years of classical neoplastic painting, Mondrian turned away from this kind of work: "The vitality of uninterrupted succession, which really constitutes time, constantly disrupts balance," The three paintings of the Boogie-Woogie series of 1940-1944, his last and most distinguished works, ore the expression of a new, i.e., dynamic and balanced, relationship, which counteracts static balance. With this a structured movement is achieved and hence vibration.
This promises a new pictorial space. By pictorial space I understand the continuous integration of a number of individual spaces. The differentiated pictorial spaces become proportional to one another, producing a certain order. Above all, the new structural order of pictorial space will be determined by the space value of color and its frequency. The clarity of relations of pictorial space is determined by the eye alone. The ability of the eye to achieve this is an extraordinary quality. Consequently every mathematical-statistical configuration becomes unnecessary. In turn, only through the structuring of color space is vibration of color possible at all. Movement will not only be realized on the surface of the painting but will also leap out at the observer unexpectedly. Depth of image becomes irrelevant. Representational-physical pictorial space should be done away With, even when it appears abstract. Likewise, atmospheric pictorial space is a kind of naturalism.
Painting, as a dynamic structure that is entirely self-sufficient, points to a new vitality of painterly nuance. But this becomes true only when the painting discovers its concrete implications. Color can only be dematerialized and its purity brought to light in a strictly painterly discipline. Restraint, however, means plenitude. Infinitude of possibility is a beautiful thing for the artist if it does not lead to aporia. Such aimlessness must be conquered in order not to be destroyed by it. The neo-expressionist method was just such an aporia, a negative freedom. Following this, lyricism seemed like a refuge.
The exclusiveness of a completely nonrepresentational, dynamic pictorial structure, light years apart from nature, will be redeemed in a pure emotion. It will unveil a new reality, whose secret beauty we now only suspect.
Heinz Mack, “The New Dynamic Structure”, in: ZERO 1, Düsseldorf 1958; Reprint ZERO 1-3, Heinz Mack und Otto Piene, Cologne 1973, p. 14
artist when it is speculative, i.e., when the sensation of the finished work does not both anticipate and follow the work. I have never hesitated to reflect on my own work.
2. Contemporary painting, which has overcome the mannerism of geometric abstraction, finds itself in a disorganized state, i.e., one of giddiness, after finally finding its own champions.
3. The following essay is based not only on my own work but on a new concept of painting.
When we talk about painting we are talking about color. First, last, and always, the ultimate significance a color can achieve is that it fulfills its own unique creative function; only then can it attain its freedom, its greatest intensity; color is itself!
If I set one color in contrast to another, I may possibly intensify the first, but at the same time I am restricting its freedom, because there is a governing relationship between the degrees of intensity and dependence. A color can have several meanings. However, its virtual objectification, i.e., its intrinsic energy, is achieved when it strikes its own vibration; that is its life, its breath. (Leonardo da Vinci or Mondrian, for example, sought the "balanced relationship" between different color spaces, not color contrasts.)
The possibility of expressing "one color by all colors" must be contrasted with the possibility of expressing all colors through one color. This idea makes sense only because it is possible to bring one color into play so that it becomes completely self-sufficient. We can achieve such intensity of color vibration through a continuum of deviations from an ideal monochrome, or through a continuum of graduated value of the same. The primary condition for vibration of color is that some elements remain stable throughout chromatic modulation; in this way color is given its freedom.
I impart vibration to a color, i.e., I give the color structure, or I give the color its form. There is nothing more to say regarding the notion of "form" in the traditional sense. Overcoming polychromaticism through color itself means that we must give up composition in favor of a simple structure zone, i.e., the simple "coming together" of all creative elements. The painter accomplishes unity in a work, among other means, by knowing precisely the function of each simple constituent; in the place of "interesting" detail we substitute a completely insipid structural element that is only meaningful when it is related to the whole. In this way the structural element achieves its individuality, its unique significance.
To speak of such an element by itself is meaningless. (The "images within the painting," the "effects," the predomination of isolated single forms, do not exist any more.) In other words, "structure" in the sense of "unity," overall form, is destructible, but its elements remain in their unadulterated diversity. Once this is recognized it will mean exciting results for the painter.
To me such an element of structure is, for instance, a number of parallel straight lines in a horizontal or vertical arrangement. The pattern of such lines is infinitely variable; the principle involved is the simultaneous and recurring sequence of the lines. (These lines need not be exact.) Every zone in between two lines displays an immensely rich color - form structure; accidental creation is given a real chance - the lines arrange themselves. Individual parallel zones gradually transform themselves from zone to zone, while at the same time they retain their distinct but mutual character- in this way they are brought into vibration.
The artistic method in this case is an open mechanical arrangement. The mechanics of artistic activity get stimulated and directed by the sensitivity of the artist's hands - hence it escapes the danger of mechanical repetition, which continues to be uncreative. In principle, all parallel zones have the same intensity of presence.
Consequently there is nothing more to be said about composition or variations of formal themes. These are contradictory to the pictorial structure, which is dynamic. Parallel zones have not only a static but also a dynamic being. The dialectics of static and dynamic elements produce virtual vibration, i.e., pure, perpetually creative movement, which cannot be found in nature. It is free of all suggestive illusion; it is directionless and therefore never finalized. Time cannot be actualized in it.
After twenty years of classical neoplastic painting, Mondrian turned away from this kind of work: "The vitality of uninterrupted succession, which really constitutes time, constantly disrupts balance," The three paintings of the Boogie-Woogie series of 1940-1944, his last and most distinguished works, ore the expression of a new, i.e., dynamic and balanced, relationship, which counteracts static balance. With this a structured movement is achieved and hence vibration.
This promises a new pictorial space. By pictorial space I understand the continuous integration of a number of individual spaces. The differentiated pictorial spaces become proportional to one another, producing a certain order. Above all, the new structural order of pictorial space will be determined by the space value of color and its frequency. The clarity of relations of pictorial space is determined by the eye alone. The ability of the eye to achieve this is an extraordinary quality. Consequently every mathematical-statistical configuration becomes unnecessary. In turn, only through the structuring of color space is vibration of color possible at all. Movement will not only be realized on the surface of the painting but will also leap out at the observer unexpectedly. Depth of image becomes irrelevant. Representational-physical pictorial space should be done away With, even when it appears abstract. Likewise, atmospheric pictorial space is a kind of naturalism.
Painting, as a dynamic structure that is entirely self-sufficient, points to a new vitality of painterly nuance. But this becomes true only when the painting discovers its concrete implications. Color can only be dematerialized and its purity brought to light in a strictly painterly discipline. Restraint, however, means plenitude. Infinitude of possibility is a beautiful thing for the artist if it does not lead to aporia. Such aimlessness must be conquered in order not to be destroyed by it. The neo-expressionist method was just such an aporia, a negative freedom. Following this, lyricism seemed like a refuge.
The exclusiveness of a completely nonrepresentational, dynamic pictorial structure, light years apart from nature, will be redeemed in a pure emotion. It will unveil a new reality, whose secret beauty we now only suspect.
Heinz Mack, “The New Dynamic Structure”, in: ZERO 1, Düsseldorf 1958; Reprint ZERO 1-3, Heinz Mack und Otto Piene, Cologne 1973, p. 14
