DENIS KAPLAN - "SPACE LANDSCAPES 1"
"A central eruption dissolves slightly to the edges, as magmatic material that cools once spilled from the cavity of a volcanic crater. A fire source that slowly
acquires cooler shades, expanding into the immensity of the celestial ether.
As far as it may seem fluid and palpable, the painting escapes from any unequivocal determination, becoming itself matter of the universe, part of the infinite space environment.
Spreading like an expanding puddle once a rock is thrown into the aquatic pond, it flows freely from any boundary and defined limit, making us curious about its subsequent formal metamorphosis. The pigment of color, caught in a perpetual dance, follows the
rotation of the celestial bodies and stars and overwhelms us into its lively swirl. Like a vortex, it absorbs us into its rotating movement, pushing us to explore the vertigo of the unknown.
Visually it recalls those video-art experimentations promoted
by various artists during the 60s and 70s, where the distortion that the image received through the digital treatment opened the doors to innovative scenarios. The line of structural film, for example, by exploiting the basic components of form, colour and
movement was intended to create rhythmic compositions that rejected the traditional narration and representation functions to which the cinematographic dogma relied. And "Space Landscape 1" seems precisely to resume, in still mode, that same film sequence-
named "Star Gate" sequence - contained in Stanley Kubrick's masterpiece "2001: A Space Odyssey": here, abstract shapes and unrealistic psychedelic colours lend themselves to describe an environment we still know too little to be able to outline with certainty;
just as in Denis Kaplan's artwork, they allude to an existing elsewhere, inviting us to investigate it.
What exists outside of the relatively small world we are used to? Beyond planet Earth, are there other inhabited worlds? It is scary to think of our
littleness towards an immense and ancient galaxy, but that doesn't stop us to wonder of the existence of many other universes yet to be discovered. We feel like sand grains scattered in an immense desert, but for this same reason we can experience the sense
of sublime, being fascinated by so much majesty.
The artwork seems to make tangible that Dionysian character of art of which Friedrich Nietzsche talked about. For the German philosopher, in fact, all arts were a result of the balance of two different
impulses, the Apollonian and the Dionysian, the first one associated with order and racionality, whereas the second one linked to vital and sensual instincts. In his publication "The Birth of Tragedy", he underlines the preponderant importance of the Dionysian
spirit for men in order to make a deeper experience of life and of the world, leading them to unveil that underlying essence that he called the "Primordial Unity". The vital and chaotic instinct embodied by the Dionysian component can, therefore, be found
in those dramatic arts such as music and dance which directly connect the human being to the primordial sensual impetus, the one not corrupted by rationality.
And the connection of this painting with the voluptuous power of music could not be more direct,
since every time the artist himself draws inspiration from different musical compositions during the creative process, letting himself be guided by the notes and by what they suggest to him; as enraptured by the archaic and overpowering force of this immaterial
divinity that is music.
The result is a well-orchestrated choreography where the colour jet seems to fluctuate on the black surface of the canvas, conveying a sense of pleasing gentleness."
Deborah Maggiolo, Art Curator for MAD Gallery