SAXON Szász János
SAXON: From Immaterialisation to POLY-UNIVERSE
This complete transfiguration, this absolutely transparent state, I
could only model in painting by using such elements as even in
themselves represent the supremacy of pure sensation. Thus two basic
suprematist elements, the square and the cross through which the
square is divided into four parts, have served as points of departure.
In this case, the square bears a yellow colour symbolising existence,
whereas its opposite, the cross is characterised by a white tone that
creates an impression of emptiness. During the construction of the
picture, i.e. the deconstruction of the yellow square, I came to sense
total depletion, or, more precisely, to set up a polydimensional net.
The net that connects micro- and macro-worlds, is the virtualisation
of an absolute mind which, stretched in infinite dimension structures
or POLY-UNIVERSE as a hyper-filter, incessantly attempts to jettison
the imperfect objects of existence from its “body”.
In the ‘90s the square comprised my field of research almost exclusively. However, in the past ten years my attention has focused on discovering the triangle as the form of the ‘Absolute’. Rearranging the triangle in a poly-dimensional way did not cause a problem, since marking the directions (interior–exterior) similarly to those in case of the square, I attached the smaller forms to the corner points, and using auxiliary planes I could create icon-like panel paintings full of gaps or empty spaces. However, I discovered an image–formation, a geometrical form of multiple concentration, the spiralling poly-dimensional Star of David , which, similarly to supreMADIsm icons, is poly-universal in the strictest sense. This mathematical synthesis, formal reduction, sacred element, icon-like work of art occupies an honoured position in my activity.
Generally it very seldom happens that a geometric form capable of iteration should be suitable as an icon on its own. If we find any, it is because it is formally related to the genre of the icon. One example can be the square, as it has the shape of the wooden board. On one occasion, studying the borderlines of the shading I had made on the shapes drawn in graphite, I did indeed take Malevich’s Black Square as a starting point. The sides of this square are divided in a 1:5 proportion, and this is the scale-shift that leads to the creation of the ‘fringes’ surrounding the central shape. I applied this division to the picture three times. In this case let us calculate the fractal dimension of the outlines. Here we have eleven steps for a change of 5 length units; the result is hence log [11/5], that is, 1.4898… By the deliberate fusion of the black tone of the different-scale squares our eyes are stimulated to see one poly-dimensional square, in contradiction to mathematical laws.
This complete transfiguration, this absolutely transparent state, I could only model in painting by using such elements as even in themselves represent the supremacy of pure sensation. Thus two basic suprematist elements, the square and the cross through which the square is divided into four parts, have served as points of departure. In this case, the square bears a yellow colour symbolising existence, whereas its opposite, the cross is characterised by a white tone that creates an impression of emptiness. During the construction of the picture, i.e. the deconstruction of the yellow square, I came to sense total depletion, or, more precisely, to set up a polydimensional net. The net that connects micro- and macro-worlds, is the virtualisation of an absolute mind which, stretched in infinite dimension structures or POLY-UNIVERSE as a hyper-filter, incessantly attempts to jettison the imperfect objects of existence from its “body”.