Art at Lechón Illustrado

I was at Lechón Illustrado recently looking at Samara Colina’s paintings with friend and artist, Catalina Gris. What I found most interesting was how the paintings worked on two levels. Up close, you could get lost in a fantastic abstract array of color patches.

Then, as you slowly move away, the image becomes more and more representational.

When the whole scene finally comes into focus, the sheer number of human figures represented is dizzying.

“Maybe,” I said to Cati, “maybe that’s what Kant meant by the mathematical sublime.” (Sidebar: I have more than once bantered my German friends that it takes a German like Kant to see mathematics as a sublime experience.) Anyway, Kant was talking about magnitude, but here it is literally a numeric overload; as you step back from the detail, the multitude is too great to fathom or even to be contained in the frame of the canvas. Even the spatula smears diagonally across the upper left and right warp the time-space curve into something larger than what the senses can grasp.

“No,” Cati said. “This isn’t it – the Kantian sublime.” Not that she didn’t like the painting, she just thought I was forcing in the theory. She was probably right. I always try a bit too hard to wrap my head around the mathematical sublime. (Kant’s power-based dynamical sublime is easier to grasp for me.)

“Maybe if the entire wall was covered,” Cati said.

“Yes,” I said, “That’s it.”

Whether representative of Kant’s mathematical sublime or not, it is a signature feature of Colina’s work (cp. the painting below, also at Lechón Illustrado).

(Click images below for links)

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Wordsworth and Kafka

Another path from classical to romantic to existential…

The classical ideal, epitomized say in Mozart’s Eine Kleine Nachtmusik, offers a closed system of perfect beauty, gives that calm rational pleasure that comes with the compound of beauty and completeness. The impact of a romantic piece like Chopin’s Polonaise in A-flat major, on the other hand, comes specifically from a lack of closure. It is full of longing, and longing is by definition longing for something out of reach; the beauty is not the perfect beauty of a closed system but the melancholic beauty that comes with a conspicuous lack of closure, a sense that the system is incomplete, that what we desire is forever out of its scope.

Compare this to Wordsworth and Kafka, icons of Romanticism and existentialism, respectively. Both break from the classical ideal of a closed system of perfect beauty, but they break differently. For the Romantic poet, the world holds enormous meaning, warrants enormous feelings beyond the reach of the classical’s neat rational boundaries. But that locus of meaning, of feeling, is at a depth that we can sense but never quite reach. When Wordsworth speaks of the “meanest flower” that “can give / thoughts that do often lie too deep for tears” (“Intimations Ode”), the melancholic tone comes from an incomplete desire. The poem is not a closed system of perfect beauty, but a locus of longing, ever pointing to something outside of itself. But if “too deep” locates the object of desire ever at a distance, there is no doubt in Wordsworth as to its substantive presence:

…And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man;
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things.
(“Tintern Abbey”)

Kafka and the existentialists create narratives that seem more romantic than classical in that they too rely on a conspicuous lack of closure. The meaning sought is forever beyond the scope of the system they are trapped within. But whereas Wordsworth reaches out from the system to grasp a meaning whose “presence” is too large or too deep for him to get his hands around, Kafka’s K (The Castle) and Joseph K (The Trial) reach out from the system for a meaning that is not present at all but absent. That locus of meaning, that presence that validates the depth of human feeling, was for Wordsworth too big (Kant’s mathematical sublime) or too powerful (Kant’s dynamical sublime) to be contained in classical symmetries but for Kafka it is infinitesimally small. It is an empty vanishing point and nothing more.

If I could draw diagrams in WordPress, or set up toolbar icons on my own computer program, I’d say picture a pearl that fits perfectly in someone’s hand as our classical icon. Click it to play Eine Kleine Nachtmusik. Now picture a second icon in which the pearl has become a sphere the size of a planet under the person’s feet, far too large to grasp or hold or even imagine in its entirety, however one might long to do so. That is our Romantic icon. Click to open Wordsworth. Now the sphere disappears and the person is floating in empty space. Click for Kafka.