Jardin Cosmique - Holokinetism - by K-soul
Holokinetic painting
© K-soul
Over the past centuries, painters have sought to integrate light and
movement into their pictorial work. The threshold between static painting
and living light painting has been expressed in Malevitch's artwork "White
square on White field”: Malevitch expresses the beyond of this frontier by
"Flight in the infinity where the colours are semaphores". In the heart of the
white infinity, the solution of the equation leads to the enlightenment...
K-soul has spent more than fifteen years of research to develop the living
light painting, or holokinetic painting. This twenty-first century art merges
traditional techniques and new technologies.
Using a computer interface, the holokinetic painting is handmade. The
holokinetic canvas is a screen. This high-tech luminous canvas allows to paint
directly with the light. The painter's tools are a pen and a touch panel, a
computer interface records the gestures and movements: the painting
becomes bright and alive.
At the convergence of art and science, holokinetic painting is situated in the
continuity of the work of the Expressionists. The artwork reveals the eternal
language of creation and the mysteries of light and darkness. A complex
structure of biorhythms animates processes of pictorial embryogenesis,
metamorphosis of shapes and light-colors are expressing the organic activity
of the "pictorial being". The artist explores the creative processes of the
universe and reveals illuminated maps of fabulous horizons.
movement into their pictorial work. The threshold between static painting
and living light painting has been expressed in Malevitch's artwork "White
square on White field”: Malevitch expresses the beyond of this frontier by
"Flight in the infinity where the colours are semaphores". In the heart of the
white infinity, the solution of the equation leads to the enlightenment...
K-soul has spent more than fifteen years of research to develop the living
light painting, or holokinetic painting. This twenty-first century art merges
traditional techniques and new technologies.
Using a computer interface, the holokinetic painting is handmade. The
holokinetic canvas is a screen. This high-tech luminous canvas allows to paint
directly with the light. The painter's tools are a pen and a touch panel, a
computer interface records the gestures and movements: the painting
becomes bright and alive.
At the convergence of art and science, holokinetic painting is situated in the
continuity of the work of the Expressionists. The artwork reveals the eternal
language of creation and the mysteries of light and darkness. A complex
structure of biorhythms animates processes of pictorial embryogenesis,
metamorphosis of shapes and light-colors are expressing the organic activity
of the "pictorial being". The artist explores the creative processes of the
universe and reveals illuminated maps of fabulous horizons.
Jardin Cosmique - Dynagram - © K-soul
The high-tech canvas of the XXIth century
***
THE HOLOKINETIC PAINTING
Chromatic expressions of time
The holokinetic painting : a dynamic pictorial language
The holokinetic painting is a pictorial organism; it develops its activity in the flow of time. The pictorial organism is a unity,
an universe in itself, a living whole in which the relations of space, tones and rhythms are constantly ordered according to
its internal components. Holokinetic painting opens the way to the deployment of a new mode of expression: the dynamic
pictorial language.
Tools of a holokinetic painter
Photonic canvas - touchpad - electronic brush - computer interface
Artists often distort the technologies of their initial purpose. An electronic screen, LCD, LED or OLED becomes a photonic
canvas generating light. This high-tech canvas allows to paint directly with light and to integrate movement and time into
the pictorial work. The painting becomes photonic and kinetic.
An electronic brush and a touchpad become the tools of the painter. The electronic brush can be configured in an almost
infinite way through a computer interface. The gestures of the brush are recorded and superimposed as different layers;
each gesture can be edited and retouched. A holokinetic painting is made by the superposition of ten thousands of layers.
The photonic canvas : a dynamic surface
The essence of being is becoming. Shapes and colors arise from the conflict and synergy between energy sources. The
artwork makes visible the super- and subsensible forces which make the future of the world. The artwork unfolds itself by
intertwining chaotisizing and structurizing energies which produce phenomena of pictorial combustion and mineralization.
The dynamic combination of pictorial means constitutes the holokinetic artwork . Permanently updating its energy, it
becomes a constantly changing, intangible world of light.
A light-colors emitting surface
The photonic canvas produces its own light consisting of RGB pixels and it is kind of pointillist. The pixels of the canvas are
put into vibration by the artist. They become dynamic issuers of the poetry of light which arises from the darkness of the
canvas, from the drama of the conflict emanating from the light-colors in constant metamorphosis. The colors and shapes
light up and become alive.
Light-colors are free colors
The photonic canvas frees the color of the grip of substance; the color enters the world of pure energy. Pure colors of the
cosmos and the imaginary world are bright and dynamic, they radiate. They must be approached from the perspective of
the chromatic movement, of the becoming. They differ from the reflective, materialized and static earthly colors.
It is not the relationship between two colors which is the origin of energy and movement, it is the relationship between
sources of energy that makes colors appear and creates their movement according precise speeds and slowness.
Deployment of energy - appearance and dissolution - movement of intensification and evanescence - resonance and
dissonance ...
The interior emptiness of artificial light-colors
A natural pigment differs from a pigment of technological origin by its internal complexity. This complexity is reflected
among others in the molecular structure and its interaction with the light. A natural pigment produces a complex color full
of inner nature which allows the nuances of the pictorial language. An analogy can be found between a human voice and a
synthetic voice; it always lacks an imponderable content.
A photonic canvas produces artificial light–colors of technological origin. The artist no longer enjoys the substantial quality
of the pigments. The digital technologie generating light produces perfect colors without stories that are empty of inner
qualities. These light-colors are not adapted to the expression of a pictorial language that is based on poetry of colors.
Revive the artificial light-colors
The natural color is a complex of different speeds; it tells a story, its own story. The chromatic depth reveals the memory of
the color; it unveils its interiority and is of temporal nature. More than the genesis of a color is fast and easy, more the
color is empty. The world of colors can be compared to the human soul whose depth reveals the quality of its experiences.
An artificial light-color emitted by the photonic screen produces a uniform surface without complexity; it reveals a
contemporary human reality.
The "divine light" of the natural pigment has disappeared; the artist has to find it in himself to be able to spiritualize the
artificial light of the photonic canvas. The human, by the creative power of his mind, is the only one who has the skill to
give a spiritual meaning to his work. The artwork becomes an oneiric garden of lights and deploys the creative energy of a
spiritual nature. The photonic canvas enables to reveal the inner light of the world, to dive into the heart of life and to
express it by poetic metamorphosis of shapes and colors. The beholder is taken on the metaphysical paths of his inner
world.
Some techniques
The artist can develop specific techniques to inject interiority into the light-color; he can introduce a chromatic depth.
Conventional techniques can be adapted to modern technologies. For example, the sfumato technique, a process that
involves layering extremely delicate and transparent colors. This technique amplifies the effect of depth of shapes and
colors and the interior quality of color can appear. Sfumato means "evanescent" and was developed by Leonardo da Vinci
who described it as "without lines or contours in the manner of smoke or beyond the focal plane". The light only reaches
us after passing through many layers of painting; it acquires a biography in which each layer is a page, a history of joys
and sorrows. The color becomes a "chromatic being" endowed with a bright inwardness.
The dynamic aspect of the photonic canvas allows to penetrate into the inwardness of light. The development of various
pictorial techniques, such as dynamic simultaneous contrasts, enables to work with the internal vibration of light. These
dynamic chromatic phenomena allow the development of qualitative content of a poetic nature. By oscillating a given color,
our eye simultaneously requires the complementary color and produces it, if it is not given. As the simultaneously
generated color does not really exist, but it is only generated in the eye, it awakens in us a sense of living vibration whose
strength is constantly changing. The dynamic simultaneous contrasts can for example also be realized by varying two pure
colors that are not fully complementary, each of these two colors trying to push the other to its complementary color. An
inner life of the color appears; it shows the will of the painter.
The spatial dimension of time and the temporal flow of the holokinetic artwork
Experiencing the flow of time by the flow of light-color
Holokinetic painting allows to integrate two aspects of time: the chronological flow of time or musical time, and the spatial
dimension of time, the time of the painting area in its aspect of spatialization of the movement, its aspect of temporal
simultaneity.
During the realization of a holokinetic painting, it is necessary to control for each successive image the presence of the
spatial dimension of time. By stopping the flow of time, the holokinetic painting is divided into a succession of still images
(a reverse process to cartoons): it only remains the spatial dimension of time, the temporal simultaneity. A deficiency of
the latter produces a feeling of "collapse" of the image. This requires removal, addition or modification of the pictorial
elements. The presence of these two aspects of time ensures the coherence of pictorial language.
The artwork is an absolute, an energy that is constantly spatialized. Eternal energy formulas and timeless runes are the
archetypes constituting the painting. Their intertwining, their dialogues and metamorphoses become the temporal flow of
the artwork.
The temporal flow of the holokinetic painting is also subdivided into two streams: a stream from the past to the future and
the other from future to the past. The first stream is entropy generating, a vital process of pictorial combustion and the
second generates negative entropy, a structuring process that brings the work to an end and gives it meaning: from seed
to seed.
The artwork is a Jardin Cosmique; it demands to be experienced. The artwork has no model, it does not carry a message,
even if it contains a language. It is the pure deployment of a creative energy that acts as an inductor on the creative
energy of the beholder.
© K-soul - January 2014
an universe in itself, a living whole in which the relations of space, tones and rhythms are constantly ordered according to
its internal components. Holokinetic painting opens the way to the deployment of a new mode of expression: the dynamic
pictorial language.
Tools of a holokinetic painter
Photonic canvas - touchpad - electronic brush - computer interface
Artists often distort the technologies of their initial purpose. An electronic screen, LCD, LED or OLED becomes a photonic
canvas generating light. This high-tech canvas allows to paint directly with light and to integrate movement and time into
the pictorial work. The painting becomes photonic and kinetic.
An electronic brush and a touchpad become the tools of the painter. The electronic brush can be configured in an almost
infinite way through a computer interface. The gestures of the brush are recorded and superimposed as different layers;
each gesture can be edited and retouched. A holokinetic painting is made by the superposition of ten thousands of layers.
The photonic canvas : a dynamic surface
The essence of being is becoming. Shapes and colors arise from the conflict and synergy between energy sources. The
artwork makes visible the super- and subsensible forces which make the future of the world. The artwork unfolds itself by
intertwining chaotisizing and structurizing energies which produce phenomena of pictorial combustion and mineralization.
The dynamic combination of pictorial means constitutes the holokinetic artwork . Permanently updating its energy, it
becomes a constantly changing, intangible world of light.
A light-colors emitting surface
The photonic canvas produces its own light consisting of RGB pixels and it is kind of pointillist. The pixels of the canvas are
put into vibration by the artist. They become dynamic issuers of the poetry of light which arises from the darkness of the
canvas, from the drama of the conflict emanating from the light-colors in constant metamorphosis. The colors and shapes
light up and become alive.
Light-colors are free colors
The photonic canvas frees the color of the grip of substance; the color enters the world of pure energy. Pure colors of the
cosmos and the imaginary world are bright and dynamic, they radiate. They must be approached from the perspective of
the chromatic movement, of the becoming. They differ from the reflective, materialized and static earthly colors.
It is not the relationship between two colors which is the origin of energy and movement, it is the relationship between
sources of energy that makes colors appear and creates their movement according precise speeds and slowness.
Deployment of energy - appearance and dissolution - movement of intensification and evanescence - resonance and
dissonance ...
The interior emptiness of artificial light-colors
A natural pigment differs from a pigment of technological origin by its internal complexity. This complexity is reflected
among others in the molecular structure and its interaction with the light. A natural pigment produces a complex color full
of inner nature which allows the nuances of the pictorial language. An analogy can be found between a human voice and a
synthetic voice; it always lacks an imponderable content.
A photonic canvas produces artificial light–colors of technological origin. The artist no longer enjoys the substantial quality
of the pigments. The digital technologie generating light produces perfect colors without stories that are empty of inner
qualities. These light-colors are not adapted to the expression of a pictorial language that is based on poetry of colors.
Revive the artificial light-colors
The natural color is a complex of different speeds; it tells a story, its own story. The chromatic depth reveals the memory of
the color; it unveils its interiority and is of temporal nature. More than the genesis of a color is fast and easy, more the
color is empty. The world of colors can be compared to the human soul whose depth reveals the quality of its experiences.
An artificial light-color emitted by the photonic screen produces a uniform surface without complexity; it reveals a
contemporary human reality.
The "divine light" of the natural pigment has disappeared; the artist has to find it in himself to be able to spiritualize the
artificial light of the photonic canvas. The human, by the creative power of his mind, is the only one who has the skill to
give a spiritual meaning to his work. The artwork becomes an oneiric garden of lights and deploys the creative energy of a
spiritual nature. The photonic canvas enables to reveal the inner light of the world, to dive into the heart of life and to
express it by poetic metamorphosis of shapes and colors. The beholder is taken on the metaphysical paths of his inner
world.
Some techniques
The artist can develop specific techniques to inject interiority into the light-color; he can introduce a chromatic depth.
Conventional techniques can be adapted to modern technologies. For example, the sfumato technique, a process that
involves layering extremely delicate and transparent colors. This technique amplifies the effect of depth of shapes and
colors and the interior quality of color can appear. Sfumato means "evanescent" and was developed by Leonardo da Vinci
who described it as "without lines or contours in the manner of smoke or beyond the focal plane". The light only reaches
us after passing through many layers of painting; it acquires a biography in which each layer is a page, a history of joys
and sorrows. The color becomes a "chromatic being" endowed with a bright inwardness.
The dynamic aspect of the photonic canvas allows to penetrate into the inwardness of light. The development of various
pictorial techniques, such as dynamic simultaneous contrasts, enables to work with the internal vibration of light. These
dynamic chromatic phenomena allow the development of qualitative content of a poetic nature. By oscillating a given color,
our eye simultaneously requires the complementary color and produces it, if it is not given. As the simultaneously
generated color does not really exist, but it is only generated in the eye, it awakens in us a sense of living vibration whose
strength is constantly changing. The dynamic simultaneous contrasts can for example also be realized by varying two pure
colors that are not fully complementary, each of these two colors trying to push the other to its complementary color. An
inner life of the color appears; it shows the will of the painter.
The spatial dimension of time and the temporal flow of the holokinetic artwork
Experiencing the flow of time by the flow of light-color
Holokinetic painting allows to integrate two aspects of time: the chronological flow of time or musical time, and the spatial
dimension of time, the time of the painting area in its aspect of spatialization of the movement, its aspect of temporal
simultaneity.
During the realization of a holokinetic painting, it is necessary to control for each successive image the presence of the
spatial dimension of time. By stopping the flow of time, the holokinetic painting is divided into a succession of still images
(a reverse process to cartoons): it only remains the spatial dimension of time, the temporal simultaneity. A deficiency of
the latter produces a feeling of "collapse" of the image. This requires removal, addition or modification of the pictorial
elements. The presence of these two aspects of time ensures the coherence of pictorial language.
The artwork is an absolute, an energy that is constantly spatialized. Eternal energy formulas and timeless runes are the
archetypes constituting the painting. Their intertwining, their dialogues and metamorphoses become the temporal flow of
the artwork.
The temporal flow of the holokinetic painting is also subdivided into two streams: a stream from the past to the future and
the other from future to the past. The first stream is entropy generating, a vital process of pictorial combustion and the
second generates negative entropy, a structuring process that brings the work to an end and gives it meaning: from seed
to seed.
The artwork is a Jardin Cosmique; it demands to be experienced. The artwork has no model, it does not carry a message,
even if it contains a language. It is the pure deployment of a creative energy that acts as an inductor on the creative
energy of the beholder.
© K-soul - January 2014
Laboratoire Jardin Cosmique - Fenalet - 1880 Bex - Switzerland
T. +41 24 463 37 57 - info(a)jardincosmique.com - www.jardincosmique.com
K-soul’s artworks
Bright maps of interior landscapes
A travel in the heart of life
Metamorphosis of shapes and colors
