is the fifth chapter of the book by Maria Stefania Dolcino Bolis: "Beyond the visual confirmation." CHAPTER FIVE
Start with a creative design, plastic-kinesthetic, spatial
In presenting this work, addressing the question of instrumentation in the artistic, with a sentence of Irene Prat, my teacher of Art from 1963 to 1966 and later counselor and dear friend, who insisted on reminding me that "something" sooner or later I would be able to express, in a manner satisfactory to me, perhaps the day, discouraged, without hesitation I would use the tool. And at that moment when he told me one day of her youth, she was able to express "how she felt." Felice Casorati exactly as he planned, his teacher.
A very simple is often more than enough. The main thing is that it is congenial to the user.
In a blind person, in particular, may be advisable to use a single instrument, carefully chosen by student and teacher, in relation to the expressive needs of the learner. This is to allow a free and spontaneous use so as to make one with the artist's body.
Where the end is the expressive interpretation, live, reality, the artist can not and should not be conditioned by instruments outside the corporation. The acquisition of the total mastery of an instrument, in fact, amounts to the use of a body part directly involved in artistic expression: it is an example finger painting and dance.
The expression is a reflection of a simultaneous perception, or the act making the plays revived in space and time. A tool, just one, but used with skill, limiting the dispersion and concentration every intellectual and expressive quality on the intention of filtering reality through his own sensibility and its mode of perception.
Art is the synthesis of a subjective interpretation of the world, life, where the decoding of proprioceptive sensations and emotional, is made explicit by a "product" can also be accessed by others, but essentially faithful to the expressive artist:
an abstraction, then, what is subjective into something more universal, and in analog form, for the most part, or praxis.
Once you get a convincing conception of space, highly thoughtful, knowledgeable and well anchored to its way of being and of understanding reality, we can confidently begin to study formal space and set a re-creative, ever, and a design after the original, always working, deeply perceptive on your system: about themselves then, and the relationship you have with the environment.
art derives from this report, the synthesis of several functions mutually inseparable, descendants of sensory information are born already packed, fused intimately with each other, in spite of the different channels at the recipient.
But as the acquisition of complete mastery of an instrument is equivalent to using a body part, surely the acquisition of the absolute control of posture, allow the use of corporeality as a means of expression, whether the goal is realized in a free movement, which aims to evolve its own, such as dance and mime, is to be realized in a creative movement, aimed a production "external" to their own body space, such as substance and form, such as sculpture or any other plastic reconstruction.
's so that the embodiment of the will was the instrument of expression, it favors the slope and inferred concreteness. So, from
through a creative, itself becomes art.
In search of the peculiarities of spatial form, I tried to define "the way" it is necessary to tell a young
training to channel his innate curiosity, or desire to learn, and his natural tendency to "seek answers"
through the use of tactile-kinesthetic channel, mainly in search of significant lines and which define the geometry of a space through the "metaphor" of bodily movement.
In initiating a creative conception of space, more extra-visual, I suggest the operation of this reciprocal. I start from the outline of a shape, trying to synthesize them, playing with the utmost sincerity can the mental image I have of this.
modeling plastic part from the need to create or to express a harmony of formal relations, then again through movement, not "lose", this time, but tended to rebuild in a personal way and therefore also possibly change the relationship
intrinsic shape, it makes the act creative-expressive. Note that in the case of the blind and those who want a formal verification "beyond visual confirmation", draws from the experience tactile sensitivity and purpose, and is able to recompose "in volume", due to the kinesthetic awareness of the artist . More profoundly, the ability of these uses, to make a valuable insight at a subtle level, therefore, to dig in its essence, in its experience in its own way of interpreting reality space, formal, psychological and perceptive. To understand therefore what is the essence of a life, for your chance to listen, connect, remember.
And the more the shape deviates from the interpreted its stereotypical definition, the more, presumably, the artist will follow his
personal assessment of reality, which will surely be shared, who owns his own sensory heritage.
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