Wassily Kandinsky wanted to be free from depicting the things we can lay our hands on because he wanted to portray truths and emotions more profound than those encompassed in a simple object. He wanted art to be able to go straight into your heart with a power and immediacy like that of music. And so in many ways, he used musical metaphors for his art.
This painting is called a “composition.” Others were “improvisations.” In the painting, he chooses orange not because it signifies a citrus fruit, but because it expresses a specific emotion that can’t necessarily be put into words. He chooses black lines not to draw a shape, but because of the depth of feeling they add, and the way they direct the motion of the painting. He uses these colors like a composer uses notes, and spreads them across his composition in collections that have a certain visual “rhythm.” But no color stands entirely on its own. Instead, Kandinsky places one color next to another so that there’s an energy that comes from the combination. A red next to a green, for instance, creates a very different feeling inside of you than a red next to an orange. This is something like a visual analog of musical harmony and dissonance. And with his entire orchestra of colors and textures, Kandinsky’s composition leaps and twirls and dances across the canvas like a grand symphony.
When we begin to appreciate the painting’s essence, like music, it can touch our hearts in a way that a picture of, say, an apple, cannot.
This is a scrapbook made of pixels, serving mostly as a repository for all the interesting and inspiring things I find online. Art, funky music, literature, counterculture, ecology, postcolonialism, and anarchism are a few of the things that move me. But there is no me, only a collection of selves that happen to co-habit under the common rubric of Marco Cuevas-Hewitt. "Difference is happy", a quote from Deleuze's book on Nietzsche, sums up the ethic we live by.