Mixed Media — L I C H T E N B E R G

T H E S I L E N T S O U N D O F S T O N E S _ Selection of Charcoal drawings (Originals A4 and A3)

S T O N E S

In Zen Buddhism, stones symbolize simplicity, stillness, and the unchanging essence of reality. They are often incorporated into Zen gardens, where their placement and form evoke a sense of timelessness and the natural flow of the universe. Stones represent stability amidst the transient nature of life, serving as reminders of the impermanent world and the need to cultivate mindfulness. In meditation, they embody the concept of “no-mind” (mushin), where the mind becomes clear, like a still stone. Through their quiet presence, stones invite contemplation on the interconnectedness of all things and the path to inner peace.

In Shintoism, stones hold a profound spiritual significance, symbolizing permanence, stability, and the presence of kami (spirits or deities). They are often seen as sacred objects embodying the divine essence of nature. Stones are placed in shrines and sacred sites, marking the dwelling places of kami. These natural objects are believed to possess their own spiritual power, a concept known as “iwakura,” where stones act as vessels for the gods. Their unchanging nature reflects the Shinto belief in the enduring connection between the spiritual and physical worlds. Through reverence for stones, Shintoism emphasizes harmony with nature and the divine.

And-, beyond symbolism, stones can fly.

C H A R C O A L

Black charcoal, a medium as ancient as it is expressive, has recently been a discovery in my toolkit. From the earliest cave drawings to my pictures, charcoal’s unique properties have made it a preferred choice for me, seeking to explore the depths of tone, texture, and emotion.

Charcoal, as an art medium, has roots that trace back to prehistoric times. The earliest evidence of its use can be found in cave paintings, where early humans used burnt sticks to create images on the walls of caves, depicting their daily lives and spiritual beliefs. These primitive artists were drawn to charcoal for its availability and the bold, expressive marks it could produce.

In contemporary art, black charcoal continues to be a popular medium in mixed media and experimental works.

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B L A C K M A T E R S _ Selection of Charcoal drawings (Originals A4 )

B L A C K

The color black holds profound cultural, psychological, and symbolic significance across many societies. Its complexity stems from its dual nature as both a symbol of power and mystery, as well as a representation of mourning and fear. Black’s versatility in meaning makes it a pivotal color in fashion, art, literature, and rituals.

Psychologically, black is often associated with authority, elegance, and sophistication. In fashion, black attire conveys a sense of timelessness and professionalism, signaling seriousness or luxury. The color’s ability to absorb light without reflecting it gives it an air of mystery and depth, often used to signify the unknown or the hidden.

In cultural contexts, black frequently symbolizes death and mourning. Many Western cultures use black clothing to express grief during funerals, while in other societies, black is linked to the afterlife or the supernatural. In literature, black often evokes fear, danger, or the concept of evil, as seen in works where darkness or shadow represents peril.

However, black also plays a significant role in positive symbolism. It can signify resilience and strength, especially in contexts where individuals or communities reclaim the color as a form of empowerment. For instance, in the Black Power movement, black was worn to symbolize pride and solidarity.

Thus, the color black is powerful and multifaceted, embodying both negative and positive aspects depending on context. Its significance transcends mere aesthetics, delving deep into the human experience of emotions, culture, and symbolism.

“We have art so that we shall not die of reality.”

Friedrich Nitzsche

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“ B A S T A R D S “ _ Selection of Charcoal drawings (Originals A4 )

A Side Product of Conceptual Art: “Bastards”

Conceptual art, emerging in the mid-20th century, focuses on ideas over the traditional aesthetic or material qualities of art. It emphasizes the concept rather than the medium, often leaving behind objects, thoughts, or traces that are unintended yet essential byproducts. These byproducts or “side products” reflect the ephemeral, abstract nature of conceptual work, and may hold unexpected significance. An art piece titled “Bastards” could engage with these unintended outcomes, calling into question the legitimacy or purity of what is created incidentally alongside the main idea.

The word “bastard” traditionally refers to something illegitimate or born outside formal boundaries, suggesting that the title “Bastards” highlights the unplanned and often disregarded aspects of the creative process. These “bastards” may be sketches, discarded objects, or fragments of thought that were never intended to stand alone but now possess a life of their own. Conceptual art, with its fluid boundaries between thought and creation, often generates such material— unintended consequences that enrich the art world by their very deviation from the intended piece.

In this context, “Bastards” could serve as a critique of the conventional categorization of art, blurring the line between what is considered “complete” orm“valuable” and what is dismissed as peripheral. Conceptual art often confronts established norms by questioning the importance of a finished product, and the side products become vital in understanding the scope of the work.

Ultimately, “Bastards” might invite the audience to reflect on the value of these side products, asking whether the essence of art lies in its intended meaning, or whether it also encompasses the messy, chaotic elements that surround and shape the creative process. This piece would force viewers to consider that what is marginalized—those “bastards” of creation—may hold deeper truths about the nature of art and life itself.