Waclaw Szpakowski et le point originel

• Authors: Serge Salat

Title variants

EN

Vaclav Szpakowski and primary point

• Languages of publication: FR

Abstracts

EN

Vaclav Szpakowski tried to capture and formulate by symmetry and rhythm, the rules of nature’s geometry. He realized that the constant repetition of the same motif produces complex symmetries and that form is not static but is the process of emerging. The rhythmic character of the universe – from galaxies to the cyclone, from atoms to molecules and to life – was the subject of his research, involving both the mind and hand: using eyes and hands, he followed infinite, rhythmic lines. He could see beyond the visible: he reached fundamental invisibility and melodies hidden under the surface of the light perceptible by senses. One and only line drawn by the motion of a point, can be bent repeatedly in the same zigzag motion; but suddenly it changes the pattern of breaking up; and finally it finds the original theme, and then again it bents into a similar motif, but this time in mirrored or extended motif. Vaclav Szpakowski finds after four centuries of creative, morphogenetic movement of bending, infinite and the spiral line of Leonard’s. That is the source of the open work by Szpakowski; his line can extend indefinitely; the beginning of his lines is lost somewhere outside the field of the visible, in the infinite white, which is the carrier of all the possibilities. Each individual composition is only a fragment taken from the infinite potentiality of the source line. Nothing therefore makes the fading forms become visible. Makes them shine in uncertain ephemeral phenomenon, in the glow of both the current and intangible rhythm, which propagates in an abstract space. It is the pulse of time in the mental world of the beholder.

• Publisher: Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
• Journal: DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
• Year: 2014
• Volume: 18
• Pages: 214-234

Contributors

author

Serge Salat

References

• Cité d’après: Janusz Zagrodzki, L’infinitude de la ligne. Aspects psychologoque, visuel et musical, [dans:] Wacław Szpakowski, 1883–1973: l'infinitude de la ligne = De eindeloosheidvan de lijn = Nieskończoność linii = The Infinity of the line = Die Endlosigkeit der Linie, Atelier 340 (Bruxelles-Brussel); Muzeum Narodowe w Warszawie, Bruxelles Brussel – Varsovie 1992. Je dois les informations sur le contenu des carnets de Wacław Szpakowski au même article de Janusz Zagrodzki.
• Paul Klee, La pensée créatrice, Écrits sur l’art I, Paris, Dessain et Tolra, 1980.
• A. Koyré, Remarque sur les paradoxes de Zénon (1922), dans Études d’histoire de la pensée scientifique, Paris, 1961, p. 31.
• E. Benveniste, La notion de rythme dans son expression linguistique, page 333.
• M. Serres, La naissance de la physique dans le texte de Lucrèce.