"It is what you see and nothing else!" I kept answering, but they would immediately continue with another question: whether it was possible to live on such art.
"It is possible to live, yes, but not also to be!" I explained, and I probably do not have to say that none of them wanted - or even bought - these creations. Thus the "concrete artworks" lived their self-sufficient life, and I preferred it that way. As their creator I could have my relationship to them at any moment. Then came a time when I started to dedicate my entire self to life again; I completely abandoned creative activity. Later I suddenly realised that the "concrete artworks" had detached themselves from me and started to live their own independent life.
They started to exist as Art because of my relationship to Life. This was when I first felt really responsible for them. I gave them life and I felt that if I wanted to remain sincere, I would also take the following step.
It happened that I went to England for some time, and I privately performed several processes from the "Destruction" cycle, but I did not succeed in placing them in any London gallery. It even turned out that I almost signed a contact with a basketball team.
When I returned home, my dying mother started to influence my life. In experiencing the dead, a new light enlightens life; one starts to see all that groves, develops and lives.
Whenever I came in my studio, I realised that I was becoming increasingly alienated from the" concrete artworks"; I could look at them in their self-sufficiency, but I no longer saw anything.
I realised that they had returned to being.
It became clear to me that the essence of fine art lies in the commitment "to seeing" rather than the more possibility of " to looking". It is the secret of human imagination, which is still very diverse - thank God for that. I am deeply convinced that it would be terrible if all the people were forced to look at the same thing, and if they actually saw the same thing. There is too much surface trickery and fabrication in our globe anyway, and also too much totalitarian monolithism, which is as strong in culture as it is in politics.
I know that I had grasped a certain fine art process and that henceforth only repetition and dealings with variations of the outcome would follow. Thus was because of me but even more because of them; the "concrete artworks". It no longer satisfied me. And thus I did what I had to do.
I characterised them.
If I gave them a Beginning, a Being and also a Life, I also had to give them the End.
I destroyed every one of them so that only relics remained to enter Communication through the Process of Substitution.
( FOUR CLUES TO A TIME LOST; III; WATER; THE PHENOMENON OF COMMUNICATION ; published 2ooo )
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Periods, Trends and Tendencies
Period: 1970 - 1980
Trend: Conceptual Art ( actions, performances, projects...)
Tendency: Art - Life
Period: 1980 - 1990
Trend: Personal Art ( plan-designs, situations, montages...)
Tendency: Art - Self
Period: 1990 - 2000
Trend: Social Art ( work - trends... )
Tendency: Art - Others
Period: 2000 - 2010
Trend: Simple & Elementary Art ( drawing, painting, photography, multimedia ... )
Tendency: Art - System
Period: 2010 -
Trend: Pseudo & Cosmic Art ( diverse art forms )
Tendency : Art - Art
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