Jardin Cosmique - Holokinetism - by K-soul
Feedbacks
HOLOKINETIC PAINTING - Explanation by Frédéric Künzi (1950 - 2012)
Art historian, independant curator at Gianadda Foundation, Martigny - CH
Excerpt of the radio broadcast " Devine qui vient dîner " by Michèle Durand-Vallade
Friday 3th of August 2012 - Radio Suisse Romande - La Première - Podcast
M. Durand-Vallade : Why are we close to painters like Kandinksy, like Klee ? Because it is a painting which
behind the forms is searching the secrets of the light, the secrets of movement in substance? A painting that
searches inside the things ?
F. Künzi : It's the vibration that all these painters were looking for and wanted to define, and that K-soul
realised.
...
A friend of Leonard Gianadda sent me an email to inform me about K-soul's artworks and I have been
completely enthusiastic. Usually I curate exhibitions of painters of the 19th century as Félix Vallotton or at
the beginning of 20th century like Giacometti. My interest and curiosity led me to meet K-soul and I have
been absolutely amazed by this kind of art even though I never do non-figurative exhibitions. Usually, I have
to admit that I do not like it. I am an expert of the 19th century, but I have been absolutely enthusiastic
about the constantly changing forms and colours.
I perceived in this art, that when you speak about Jardin Cosmique, it contains everything that we can see in
the universe, this means black wholes, supernovas, white dwarfs, you can see and imagine everything and
try to figure out what K-soul wanted to express, … I remained for hours in an exhibition of K-soul, looking at
the evolving artworks, going from one to another.
… I imagine also that his love for nature makes the beauty of the colours and the luminosity that we can find
in its artworks.
The work done by painters with digital tools are only a vague approach to what K-soul does, it has nothing to
do with. I think the terms "digital" or "computer" should be completely banned from our discussion and from
K-soul's artworks because they are everything but not "computer art", we really have to forget the screen
and the computer.
I would say that K-soul has even gone beyond his master, Ruben Nunez, founder of "Holokinetism". There is
an evolution in comparison to the art of Nunez, a enormous and very nice evolution and I prefer by far K-
soul's art to Nunez'. In the artworks of Nunez things are much more predictable, you can even see things,
but in the artworks of K-soul there is no object that you can define, it is really the amazement of the
imagination and he went very very far beyond Nunez' work.
M. Durand-Vallade : Is this work promising for the future ?
F. Künzi : I imagine that K-soul's work will have a brilliant future, but at the present time as his work is
really innovative, nobody can say what it will result in. It is completely groundbreaking and we can not know
yet where it will lead us, which evolution it will take and even which will be the evolution of the art of K-soul.
I imagine the art of K-soul evolving very quickly and I think we are far from knowing what he will prepare.
***
Ruben Nunez (1930 - 2012)
The Venezuelan artist Ruben Nunez founded in 1974 the concept of "Holokinetism" and predicted the use of
screens as a canvas in order to integrate light and movement into the painting. According to Ruben Nunez,
this new medium of pictorial expression should be used at the beginning of 21th century.
Living in Venezuela at the beginning of 2000, Ruben hears about a Swiss artist who is creating living light
paintings. He joins K-soul in Paris to discover personally these living light paintings: "That's it, that's the
future and I have it in front of my eyes !". Further to their encounter, Ruben and K-soul realise together the
film "Ruben Nunez - Holokinetism" and deepen the concept of Holokinetism. Ruben Nunez died in January
2012.
***
Carlos González - The Royal Academy of Art of San Fernando - Spain
Visiting the "Jardin Cosmique - Barcelona", his literal words were : "Oh my god ! My hands sweat because of
the emotion... what I'm seeing is what we expected! K-soul is the father of the art of XXIth century...".
He wrote in the Goldbook:
"The XXIth century is represented in these holokinetic artworks. If evolution of art of XXth century was
essentially to the development of the contemporary art, possible today I have known the more avant-garde
art that I never have seen".
***
Suzie Walshe - "New York Art Magazine"
"... Looking to modern art influences including Kandinsky, Klee, Malevich, Beuys, or Mondrian, K-soul takes
an approach that furthers these previous artists' pursuit of the pure and the spiritual in art. Like Kandinsky,
his artworks stir the same associations with music and dance, and embody Wagner's conception of the
Gesamtkunstwerk, as well as the spirituality emerging from visual art practice.
In Klee's The Thinking Eye, we see the strongest link with K-soul, in its look at the "science" of design, an
interest that is paralleled in K-soul's preoccupation with science as well. According to Robert Hughes in The
Shock of the New, Klee saw the world "as a model, a kind of orrery run up by the cosmic clockmaker-a Swiss
God-to demonstrate spiritual truth."
Taking up where Malevich left off with his Suprematist Composition: White on White, K-soul takes painting
into the future, by introducing the next logical medium: time. Yet, according to K-soul, when integrating time
into the static image, you also are integrating "radiant light and movement in it, [and] the evolutionary
processes … [requires] scientific knowledge" of this process.
Like the spiritual works of visionary artist Alex Grey, K-soul also examines the divine nature of existence, and
the vibrational energy fields of all of life. K-soul's work hovers somewhere in between, both essentialized and
pure in its abstraction, yet always reverent of nature and human life energies.
Ultimately, his work represents a cosmology of existence that is at once otherworldly and completely of this
world, sensual and divine, eternal and completely of the moment: in short the totalized artwork once
imagined in the last century, but never fully realized until now. "
realised.
...
A friend of Leonard Gianadda sent me an email to inform me about K-soul's artworks and I have been
completely enthusiastic. Usually I curate exhibitions of painters of the 19th century as Félix Vallotton or at
the beginning of 20th century like Giacometti. My interest and curiosity led me to meet K-soul and I have
been absolutely amazed by this kind of art even though I never do non-figurative exhibitions. Usually, I have
to admit that I do not like it. I am an expert of the 19th century, but I have been absolutely enthusiastic
about the constantly changing forms and colours.
I perceived in this art, that when you speak about Jardin Cosmique, it contains everything that we can see in
the universe, this means black wholes, supernovas, white dwarfs, you can see and imagine everything and
try to figure out what K-soul wanted to express, … I remained for hours in an exhibition of K-soul, looking at
the evolving artworks, going from one to another.
… I imagine also that his love for nature makes the beauty of the colours and the luminosity that we can find
in its artworks.
The work done by painters with digital tools are only a vague approach to what K-soul does, it has nothing to
do with. I think the terms "digital" or "computer" should be completely banned from our discussion and from
K-soul's artworks because they are everything but not "computer art", we really have to forget the screen
and the computer.
I would say that K-soul has even gone beyond his master, Ruben Nunez, founder of "Holokinetism". There is
an evolution in comparison to the art of Nunez, a enormous and very nice evolution and I prefer by far K-
soul's art to Nunez'. In the artworks of Nunez things are much more predictable, you can even see things,
but in the artworks of K-soul there is no object that you can define, it is really the amazement of the
imagination and he went very very far beyond Nunez' work.
M. Durand-Vallade : Is this work promising for the future ?
F. Künzi : I imagine that K-soul's work will have a brilliant future, but at the present time as his work is
really innovative, nobody can say what it will result in. It is completely groundbreaking and we can not know
yet where it will lead us, which evolution it will take and even which will be the evolution of the art of K-soul.
I imagine the art of K-soul evolving very quickly and I think we are far from knowing what he will prepare.
***
Ruben Nunez (1930 - 2012)
The Venezuelan artist Ruben Nunez founded in 1974 the concept of "Holokinetism" and predicted the use of
screens as a canvas in order to integrate light and movement into the painting. According to Ruben Nunez,
this new medium of pictorial expression should be used at the beginning of 21th century.
Living in Venezuela at the beginning of 2000, Ruben hears about a Swiss artist who is creating living light
paintings. He joins K-soul in Paris to discover personally these living light paintings: "That's it, that's the
future and I have it in front of my eyes !". Further to their encounter, Ruben and K-soul realise together the
film "Ruben Nunez - Holokinetism" and deepen the concept of Holokinetism. Ruben Nunez died in January
2012.
***
Carlos González - The Royal Academy of Art of San Fernando - Spain
Visiting the "Jardin Cosmique - Barcelona", his literal words were : "Oh my god ! My hands sweat because of
the emotion... what I'm seeing is what we expected! K-soul is the father of the art of XXIth century...".
He wrote in the Goldbook:
"The XXIth century is represented in these holokinetic artworks. If evolution of art of XXth century was
essentially to the development of the contemporary art, possible today I have known the more avant-garde
art that I never have seen".
***
Suzie Walshe - "New York Art Magazine"
"... Looking to modern art influences including Kandinsky, Klee, Malevich, Beuys, or Mondrian, K-soul takes
an approach that furthers these previous artists' pursuit of the pure and the spiritual in art. Like Kandinsky,
his artworks stir the same associations with music and dance, and embody Wagner's conception of the
Gesamtkunstwerk, as well as the spirituality emerging from visual art practice.
In Klee's The Thinking Eye, we see the strongest link with K-soul, in its look at the "science" of design, an
interest that is paralleled in K-soul's preoccupation with science as well. According to Robert Hughes in The
Shock of the New, Klee saw the world "as a model, a kind of orrery run up by the cosmic clockmaker-a Swiss
God-to demonstrate spiritual truth."
Taking up where Malevich left off with his Suprematist Composition: White on White, K-soul takes painting
into the future, by introducing the next logical medium: time. Yet, according to K-soul, when integrating time
into the static image, you also are integrating "radiant light and movement in it, [and] the evolutionary
processes … [requires] scientific knowledge" of this process.
Like the spiritual works of visionary artist Alex Grey, K-soul also examines the divine nature of existence, and
the vibrational energy fields of all of life. K-soul's work hovers somewhere in between, both essentialized and
pure in its abstraction, yet always reverent of nature and human life energies.
Ultimately, his work represents a cosmology of existence that is at once otherworldly and completely of this
world, sensual and divine, eternal and completely of the moment: in short the totalized artwork once
imagined in the last century, but never fully realized until now. "
Laboratoire Jardin Cosmique - Fenalet - 1880 Bex - Switzerland
T. +41 24 463 37 57 - info(a)jardincosmique.com - www.jardincosmique.com
