The choice of black for the surface makes the negative shapes stand out more than white would have. There is a tug-of-war going on between the hues and the black. The white and blue markings offer us four corners via which our eye can enter the piece. The large rectangular bar in the foreground acts as a roadblock. However, if lines were drawn from the corners of the foreground and background rectangles, a road with its vanishing point far above the picture plane would result. Instead of a roadblock, the foreground rectangle could be an entry point for the eye's travel. The lines of the three main shapes are clean and smooth. The white marks are reminiscent of the smoke from the smokestack of Kandinsky's train engine.

Result #1

The choice of black for the surface makes the negative shapes stand out more than white would have. There is a tug-of-war going on between the hues and the black. The white and blue markings offer us four corners via which our eye can enter the piece. The large rectangular bar in the foreground acts as a roadblock. However, if lines were drawn from the corners of the foreground and background rectangles, a road with its vanishing point far above the picture plane would result. Instead of a roadblock, the foreground rectangle could be an entry point for the eye's travel. The lines of the three main shapes are clean and smooth. The white marks are reminiscent of the smoke from the smokestack of Kandinsky's train engine. It is an engine that is destroyed and repaired, albeit on the order of a cathedral. A frame at the bottom of the rectangle provides a window, and the white bands—like curtains—are decorative. In a way, the decorative framing has the same function as the many long thin strips of wood used to cover the metal support. Yet the decorative wood is not pure—the decorations, in effect, are as decorative as the background—and the two are not necessarily related. The white tones of the wood seem to come from outside, and the black-and-blue ones are not necessarily related. Of course, the shapes were painted, the materials that made them possible. But this is not the case with the decorative. What is decorated, after all, is the surface of a wood that was painted with the intention of strengthening and beautifying. The decorative is done with every intention to destroy the surface. The artist's intentions and objects do not mix; they are not even mixed with one another. This is why the decorative is merely a device for decorating, as an object does with decoration. The decorative function is an addition to the object's surface, not a true part of it. The decorative adds to the surface, not destroys it, and the decorative, like the surface, is an object that has been decorated. The decorative is not just a means of enhancing the surface, but rather, it seems to destroy it. Not only is the decorative art 'black and white, but it is also 'black and part of black, and part of black. This is why it is sometimes quite beautiful to have an object with an ornament. The ornament is a small, transparent patch, a color on a grid, but it creates an important contrast. What makes an object an ornament is because it adds a contrast to the surface. It is not a whole, finished object, and cannot be reduced to any kind of understanding.

Result #2

The pencil lines on the ground are so compact they feel like they could be dried grain or grown under the skin of the paper. I thought about the crack in the surface of the paper, making a smooth, nonconcrete border. The result is an amazing appearance of light on the surface, an illusion that resembles a spontaneous leap out of the darkness.

Result #3

Kandinsky's architecture offers a concrete structure to the eye. The forms suggest a mass of dark shapes, but their shape and color indicate light. The smoothness of the lines and the faintness of the painting, the subtle quality of the charcoal and the metallic paint, are great attributes of the greatest architects of history. These elements move toward the viewer, stopping short of the perception of an image; the artist's placement of the forms, including the specific shapes, is strong. Another characteristic of Kandinskis architecture is the choice of colors. There is an almost monochromatic hue of orange, violet, green, blue, red, and red, with a slight palescence of yellow in some areas. The artist applies a large coat of white paint to the surface. The pigment not only gives a natural, almost organic, look to the painted surfaces but also intensifies the colors. There is an atmosphere of reverence and protection over the structures to which he has given a singular vision of the past.

Result #4

The choice of black for the surface makes the negative shapes stand out more than white would have. There is a tug-of-war going on between the hues and the black. The white and blue markings offer us four corners via which our eye can enter the piece. The large rectangular bar in the foreground acts as a roadblock. However, if lines were drawn from the corners of the foreground and background rectangles, a road with its vanishing point far above the picture plane would result. Instead of a roadblock, the foreground rectangle could be an entry point for the eye's travel. The lines of the three main shapes are clean and smooth. The white marks are reminiscent of the smoke from the smokestack of Kandinsky's train engine. The blue marks are as in a photo-etched drawing. The images allude to the constructions of the mind and body. The viewer makes more direct and active connections than usual with the colors, which are denser, more controlled and complex. The shape of the figure is evocative and becomes part of the overall composition of the composition. The edges of the body and its surroundings are portrayed more fully than ever before. There is no filmic or cinematic-sensorial overture here. The drawings and textures evoke the luminous physicality of the blue and black tones and the luminous hues of the blue and black forms. Both physical and visual are involved in the drawing and interpretation of the forms. The red shapes, painted in deep, bloodred hues, become a double image of the black and white forms. There is a strong sense of great tension in the all-over and merging of solid color and form. The form and color contrast create an effect of increasing depth and intensity. The pastel-blue shapes are only the highlight of the painting. There is no relationship between the printed color and its pasted-on surface. The forms and colors are woven together in a horizontal web, implying a nether world. There is an overall impression of distance, of unchanging creation. The shape and color of the shapes are constructed as if they are a fractal, as if they were mathematical geometry. To move from a monochromatic to a complex image was an important step in the development of Kandinskys works. The blue-black form is the largest and most complex of all the forms. The relationship between the forms and colors is a system or sequence of relationships. The blue and black form gives rise to a density of form. The blue shapes are complex and ever-changing. Their relationship is to the shapes of the earth. They float free and are inseparable. They are part of the earth.

Result #5

The choice of black for the surface makes the negative shapes stand out more than white would have. There is a tug-of-war going on between the hues and the black. The white and blue markings offer us four corners via which our eye can enter the piece. The large rectangular bar in the foreground acts as a roadblock. However, if lines were drawn from the corners of the foreground and background rectangles, a road with its vanishing point far above the picture plane would result. Instead of a roadblock, the foreground rectangle could be an entry point for the eye's travel. The lines of the three main shapes are clean and smooth. The white marks are reminiscent of the smoke from the smokestack of Kandinsky's train engine. The black markings are meticulously observed and meticulously reproduced. These small, intimate studies on the surface of the surface of the visible world reveal a mature technique. The technique is very close to a spirit painting—the black marks look more authentic than the white ones. A third set of small paintings, also from the 80s, are based on black-and-white photographs. They depict puddles and other water stains on a wall in a manner that recalls Van Goghs early watercolors. Van Goghs images look like photographs taken with a portable camera. Van Gogh took his photographs by photographing the puddles left in the water after a rainstorm, then reproduced them. Van Gogh's sense of authenticity is similar to that of the very most traditional of European school—the still life. Van Goghs still lifes are still-life paintings that the eyes can penetrate. The perfect still-life for the eyes is the perfect still-life for the mind. This is why we can finally say that the paintings are colorless—that there is no paint, no color. Our eyes are sensitive to light and dark, to color, and we can easily read Van Goghs still-life photographs. These paintings are a perfect vessel of the mind's ability to perceive colors. The mind's ability to perceive colors can be seen in Van Goghs color-scapes. Van Gogh shows us that color is a field that can be shaped and shaped by light. Van Gogh introduces color into the minds of artworks. One could call these paintings colorless because the colors are not solid, solid colors, but they are like sea-surface colors that can be changed by changing light. Their colors are not always clear, but are still-life colors, because there is color in them. In the masterfully executed, elegant color-scapes, color becomes a field that can be shaped and shaped.