The painter is quite creative in his pursuit to be a quite creative painter. Creativity is a key concept the painter must grasp in order to paint creatively and pursue creative creation.
The final word, however, is of a mixed and somewhat misleading nature. Many people seem to be so fascinated by ideas like color, form, composition, and expression that they forget that the panorama is a series of ideas that can be articulated as a series of objects, which are the work of the eye and not of the hand. But there are many artists in the modern art world who hold to a similar vision. One can do no more than mention a few of them. Only by doing so can the feeling of universal satisfaction with the work of many who paint in unison be evoked. For if the question of the painter as a maker of pictures becomes evident, we will be able to discover more about the mind of man than we can about the eye.It is from this aspect of the mind that Albert Geiger made his paintings, which were fully realized in this show. His paintings, rather than reflecting on a search for an artistic aesthetic, show a quiet and direct use of color. He paints by placing shapes within his compositions, as in the case of a face with a golden red chin, a neck in blue and red, or of a face, an empty eye in green, yellow, and white. The overall impression is that of an eye with a blank expression, looking out at the spectator. The sensation of a blank eye is corroborated by the obvious external evidence, which, in the other works in this show, includes a number of paintings in which Geiger has painted upon the face of a dead rabbit. The paintings are fully realized and self-conscious; they do not feel like their referents are about to be interpreted. The painting, in fact, doesnt need to be interpreted. The proof of Geigers work is that it is, and there is no need to bring any other on to it.
He has succeeded. The successful paintings are beautiful; they are not merely beautiful, they are even eloquent.
He has been doing this for over 40 years, and it is only fitting that he now does so in his seventies, as his body is weakening.
What is more interesting than his painting technique is the fact that his paintings represent a clear view of current art. He shows that artists are continuously reexamining painting, not only in terms of its formal qualities, but in terms of the way it has always been perceived and interpreted. The exhibition is proof that painting is a spiritual art and not merely a physical profession.
It is important to remember that the term creative is related to a series of important factors, including the artists initial, often uncomfortable relationship to reality, the manipulation of style and style, the use of traditional methods in contemporary color, and the search for an artistic identity that transcends the particularities of the particular. The former is not only a matter of changing styles; the latter is a necessary in order to face reality. Many of the ideas underlying self-expressionist painting are present in the works of Yavor, although they are present in a much more subtle and understated fashion. Yavor presents a subjective view of the world, often framed in a poetic idiom. He presents himself as an artist in search of self-recognition.