János Szász SAXON
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 (Malevich), 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. I must mention that to me the yellow colour in relation to white reflects the sensations of being and non-being, something and nothing, in a more vivid contrast than, say, black and white would do. During the construction of the picture, the deconstruction of the yellow square, I came to set up a poly-dimensional net. The net that connects micro-macro worlds, is the virtualisation of the absolute mind, which, stretched in infinite dimension structures, incessantly attempts to jettison the imperfect objects of existence from its ‘body’.
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, and gave my work the title ‘Poly-dimensional Black Square’ 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.
Now, the main field of interest of mine included dividing the plane surfaces with the help of geometric figures and rearranging Malevich’s cross in a poly-dimensional way. During this work I created horizontal and diagonal constructions, poly-dimensional cross-icons, but in this case, as a result of the closed system of the form, there arose finite, only about a dozen of variations for each. Strict monochrome, or more unambiguously, the black and white contrasts produce a powerful psychological effect besides the variations of visual logical structures.
I did my next experiment during the ‘supreMADIsm’ festival organized in 2006 in Moscow. I embedded the white cross, one of Malevich’s basic Suprematist elements into the other basic Suprematist element, the black square, the former trying to deconstruct the latter. The confrontation of these two forms can be found in my earlier works of art, but in the present case transcending the geometric shaping did not take place in terms of some ’Russian spiritualism’, but rather pragmatically. Before that we had been able to understand the scientific nature of my works in their fractal character described by the ’dimension shifting’.