Patterns of probability

The dichotomy that appears in the title is in the shadow of the whole text content that follows.
These terms are the music to my art – orthographic and anthropological map.
The urge and interest are focused mainly on three basic plans in the artistic structuring. The first, which refers to the exploration of the medium, its possibility and applicability, the second, which refers to the bio-Theo-teleological (worldview) or the ideological benchmark and the final, which refers to the desired outcome and purpose of this research, which is their successful synthesis.
Through accounted condition, work performed, of course, the intention is to demonstrate a degree of craft skill and qualification. To deliver a philosophical, but above all, readable thought. To establish communication with a clear and understandable language.
Besides the fulfillment in the very act of creation, assay, expectation, testimony, maturing, however the ultimate desire is to penetrate the paradigm.
The attempt, however, to explain this visual art concept from the semantic point of view is certainly semi-scientific, semi-fictional.
An aestethizing, as Baumgarten would say, which is experienced less gnoseologically and more as the science of sensual cognition.
The theory that weaves around the work is in the spirit of dualistic understanding of the world. It should imply arguments about cosmic immanence, mutuality, familiarity, polarity, rhythmicity, cyclicality, subordination, etc…
Furthermore, to initiate awareness of the magical, immediate surrounding and happening, i.e. phenomenological existence.
With the suggested visual quote, I actually insist on illustrating a subatomic story that talks of inferred forms or models of existence and behavior and at the same time on affirming the view of the form as a dynamic structure.
Or, in a comparative context, a story that is related to modern scientific research or modern discoveries of physicists, in which the form is no longer a form, but emerges as a pure tendency.
In addition, I would like to paraphrase a Buddhist conception of the object as an event, rather than an object or substance, which represents the viewpoint of our experience over time and movement.
“All things are ……… aggregations of atoms that dance and with the movements they produce sounds. When the rhythm of the dance changes, the sound it creates also changes. ………… Each atom repeatedly sings the same song, and the sound, at all moments, creates dense, subtle forms. “
… or…
“The world is all that is the case.
The world is the totality of facts, not of things.
The world is determined by the facts, and by their being all the facts.
For the totality of facts determines what is the case, and also whatever is not the case.
The facts in logical space are the world.
The world divides into facts.
Each item can be the case or not the case while everything else remains the same.”.

The noun PATTERNS OF PROBABILITY is taken from the eastern wisdom and belief in which it is taken as a model for one of the elementary particles and is recognized as essential or predetermined substance, a term for something generating, archetypal, hieromatrix but also something like intact depth, or rather as metaphysical cognition.
Hermeneutically, in the psychology of perception, the visual model i.e. the pattern is understood as a complex physiological and psychological structure (optical and mental), which houses visual impressions, which are no longer accepted as raw facts for further analysis, but as a complete state of consciousness.
However, behind this conception of art, analytical and geometrical mentality stands.
In graphing and planning of the work, all the possibilities of perspective-visual structuring of the specified area are first taken.
The geometric morpheme that is transposed in the painting field should build a logical and immanent relationship with the thinking construction.
In this case, I can say that I try to express myself by using a biomorphic, sensually receptive sign as a witness-evidence of a possible situation and a projective attitude towards the world.
Besides the inscribed graphic symbol for infinity and the closed circular line, the projected geometric body-object in the given logical space (evenly colored surface), tends to detach from the imagination and join reality. Reality which comes from the canvas.
An opportunity to legitimize a tautological presentation of the object-motive or to mythograph subject through the artistic shaping. An opportunity to reach an ambivalent, complex and open form with rich literariness.
This artistic design also relies on sketching of the space features, such as breathing – pulse beating, expanding – contracting, touching – emanating, attraction – rejection. Outlining the characteristics of physical-chemical and mental-spiritual nature.
However, the strength of the desired illusion in the proposal and its effectiveness, remain a judgment for the critical eye, the individual readings and impressions, the psychological engagement of the observer…
The method is equally important as the very phenomena, preferring creative stepping out which is capable not only of ascribing formal strength to the work, but also of suggesting a way and point of view.
If there is a recipe, then it consists of finding the rhythm of living and its cultivation.
The materialization of this research moves towards the visibility of the construction of the painting space as reality, not apparition.
Matter seen and uttered through the lens of the ontological, theological and technological experience.
Matter as energy, organics and volatility.

Matter as mass, weight, visual construction.
Matter as pictorial light substance.
Matter as colour, colour as matter of painting.
Matter experienced by determining voluminosity of the colour, i.e. through the pastuousity of the oil paint as a little mosaic tile, a building element.
Colour as space and distance.
Colour that is measured by the intensity and the tension that spreads it.
Colour as memory, temporality and prophecy.
The surgically controlled movement and handling of the painting tool should leave a trace with a precise volume and shape.
Inflicted traces of colour should assume a narrative flow, which would create a poetic and visual language, stylistic distance or image, which is composed out of the accepted forms and words, and which stems from the rhythm and intonation, from the dictation of the pregnancy, from the horizon.
Planimetry and volumetry in one, as constructive positions and conception of the space as plastical unity.
The choice of a traditional medium (oil on canvas) which has the meaning of quality of seed talks about the author’s professional emancipation, challenge and conviction.
The artist, in particular, should count on the ability of action in producing a painting, a work that will no longer represent just a material object, but a cultural fetish with its constructive ethics.
To create an added cultural value – by which rules of life of the artistic product are laid down.

Antoni Maznevski

The series of pictures or the sum works i.e. the project “Pattern of probability” is created in order to satisfy two basic needs of the artist – the need for thematization of his own intellectual interests and the need to realize that thematization as representation.
It is about constantly painting the same form, which the author experiences as a biomorpheme, named, labeled, obrazena with the syntagm “Pattern of probability”. Although it is ungrateful, it is desirable at least partially to describe its appearance.
Rounded lines of the contours of something that can associatevely remind us of a inverted vase or an antique chalice with the characteristic thickening of the handle stand out prominently on a neutral, uniform background. What are the impulses for its formation? Around 2002, Maznevski began to take interest in the schematic patterns known as Cartesian list. Initially, his interest was mostly focused on the calligraphic derivatives stimulated by the schematic line of the tendency of the particle, but later, since 2005, reflecting on the possibilities that would arise from the mirror symmetry of the expression he, from the so imagined picture, creates a particular body, whose external contours are close to or derived from the line of the aforementioned Cartesian list. For Maznevski that is his real biomorpheme. A basic or indivisible unit, a biological unit that carries the meaning: a mental visualized representation that exists as a foundation of the world.
The project “Pattern of probability” has a tendency to leave or to be on the edge of the dimension of art.

One gets the impression that Maznevski wants to find himself in a space where for the things he wishes to present he must use the language that he needs to overcome. In that space between things, in that slot, Maznevski (using the freedom or the liberation possibilities of art) has engaged in what seems unfeasible – to visualize at the level of representation (and in his experience to create as well) something that is a tendency. In his case it is the image of a three-dimensional body or face that is not named, but is described with the syntagma Pattern of probability. A pattern is kind of a model according to which the things are established. Maznevski wants to establish a “subatomic story” in which form will be shaped by the tendency. It is incomprehensible, but the slots are already places or non-places of the logic. In that story the pattern is looking for the forgotten образина. Both words have the same basis – образ. Obrazinata is a mask worn by paterfamilias. It is or should be a common identity basis of a community. The global community is seeking the global образина. In the case of Maznevski, таа образина is a pattern, a “Pattern of probability”.

The author of this text will remain unclear why the body of this Maznevski’s biomorpheme reminds him of some object from the Far East. It is possible that one reason for this is валерскиот attitude toward colours. The task of such a procedure is to model a given body out of rules of the body in space. His biomorpheme is not illuminated and does not illuminate. Colour itself should give dimension to the light of the work. Another constant should follow up on this. In the course of his work, Maznevski is constantly working outside of the expression of the utterance. After envisaging the coordinates of the future work inside himself, he approaches the making with a strange artisanal insisting serenity. The final result, as a rule, should be a seamlessly wrought object, an object fascinatingly infatuated with its own craftsmanship. In this regard, it is possible that the associative link with the Orient is prompted by a comparison with the attitude to the object which is still present in those areas.
However, the aforementioned fascination does not only occur in the process of development. Maznevski, because of it, has the need to be constantly present in shaping/dooblikuvanjeto his pattern. He cannot use it up in one piece of work. He has to constantly doobrabotuva, to change it in small bendings and change of the relationships of colours. It is likely that no painting will be able to satisfy him. Painting must constantly sets him “on track”. When the possible coordinates are dimensioned for representations “Pattern probability”, the solutions i.e. their issues are repeatedly in a direction that we cannot determine, or it cannot be determined.
At this point, it is necessary to end with a quote by a thinker who was always “on the road”: “Essential answers are always but the last step of the question. But that [step] cannot be taken without a long series of first and subsequent steps. An essential answer is supported by the urgency of the question. An essential answer is only the beginning of the response. In this, the question first comes to. Therefore, a genuine question is not done away with by finding the answer to it.” says Martin Heidegger somewhere at the beginning of the text Postscript for “What is metaphysics.”

Lazo Plavevski