|Posted on February 25, 2012 at 10:30 PM|
The creative theme of ‘Color Windows’ has been contemporary artist Peter Dittmar’s spiritual quest for about 5 years after practicing Zen – Calligraphy – Abstraction for more than 15 years.
“My ‘ColorWindows’ I see as a metaphor, a window giving sight and pointing towards the unknown and the non expressible. The center is an empty space that is symbolic of the void.
The paintings are contemporary objects supporting contemplation in the Buddhist tradition ofthe mandala,” says the artist.
Within the ‘Color Windows’ Dittmar utilizes the core aesthetic elements that were the fundamentals to the pioneers of the abstraction movement. Theosophy (the belief that creation expands geometrically from a single point) was a principal idea of reference to the Masters of the abstraction movement (Kadinsky and Mondrain) in the early 20th century. They were captivated by mystical andphilosophical ideologies. Abstract /non representational art at its nucleus is the exploration into the essence that exists beyond the object, the spiritual voyage into the origins of all that is.
These paintings are studies of color, geometric abstract minimalism, texture and calligraphy. Dittmar creates a harmonic structure by deliberately arranging the elements in a way that appeals to the senses. The geometrical code Dittmar adopts in these works is governed by the mathematical ratio known as the ‘Golden Mean’. The‘Golden Mean’ governs the 3 dimensional proportions of our earth plane.
It was used in the design of sacred buildings in ancient and renaissance architecture (the Great Pyramid of Giza and St.Peter’s Basillica in Rome) to produce spiritual energy that facilitated connectivity with interplanetary dimensional realms. We live in the 3rd dimension, or the 'Plane of Manifestation'. The ‘Golden Mean’ is an intra-dimensional doorway though which matter emerges into manifest 3-D reality. Dittmar recreates ‘the exact movement of creation in the expansion process’ within in the confines of his ‘Color Windows’.
Eckhardt Tolle understands that the quietness discovered within the void is a unique place. “Stillness is where creativity and solutions to problems are found.” The origins of the concept of the void employed by Dittmar can be traced to the Atomists, a group of natural theorists dating back to the era of the ancient Greek philosophers. Their primary subject was the composition and order of the physical universe. According to the Atomists, nature exists only of two things, atoms and the void that surrounds them. Modern physicists have proven this theory true.
Born in Munich, Germany in 1945, Dittmar divides his time living and working between Sayan, Ubud Bali, Sydney Australia and less frequently in Munich. He was educated at the Academy of Fine Arts in Munich (1970 – 76) and was an art teacher in public schools, colleges and universities in Munich, Jakarta and Para, Brazil collectively for 14 years.
Dittmar first resided to Bali in 1982. His initial vista from the ridge looking down over the Ayung River in Sayan was his illusion of tropical paradise. After many years of exploring the landscape genre he created his first abstract painting in Bali.
“In Bali I became interested in the motion and the movement of the brush rather than the depiction of objects. This became a fascination within my abstract process. The dynamics of motion, for all is in motion and in a constant state of change and my intense interest in Zen Buddhism lead me to express the intensity of this very moment of creation.”
Dittmar’scalligraphy expresses raw power captured in the moment via the rapid delivery of the brush stroke. The whirling presence of the calligraphy, at times surrounding the inner window presents another contrast within the dynamics of the paintings. A powerful mark of motion positioned alongside and in direct opposition to the stillness of the void. The controlled and confined juxtaposed against the unlimited.
‘New ColorWindows’ featured in a solo exhibition at the Tony Raka Gallery in Ubud, Bali from the 17th August until the 17th September 2010. The exhibition showcased 24 mixed media works on teak board, all windows are 100 cm x 100cm or 50cm x 100cm. The combinations of paintings hung on the wall, singularly or in groups of 3, 4 or 6 added to the impact of the optical drama. This series of the ‘New Color Windows’ reveals the evolution of aesthetic accents as Dittmar has chosen to express him self in hisboldest colors to date.
The coloration system expressed creates a fascinating illusion; the warm colors advancing towards us while the darker colors recede into the distance. Colors in opposition create a depth of field that brings the focal point of the inner window to our attention. The natural dynamic of motion is abruptly haltered as we absorb the essence of the stillness within the void. The fibrous texture is also an important feature of the works, the rendered patterns suggest motion, the valleys and peaks of the texture at times allow Dittmar to express beautifully contrasting coloration.
The use of the ‘Golden Mean’ ratio along with the depth of field created adds to the 3 dimensional visual experience. The works featured rich reds and blues juxtaposed with one another, gold, green, yellow and black. The calligraphy is in red or black and is symbolic for the female and male energy. “Color is the place where our heart and the universe meet,” said the artist.
Asian esoteric knowledge fuses with the measured structural and visual precision of the artist’s European heritage, ‘Color Windows’ represent the meeting of eastern and western cultures.
Dittmar is an international artist who has exhibited in group and solo shows in over 15 different countries. His work appears in numerous public and private collections around the world. ‘New Color Windows’ are the potent culmination of his artistic journey of nearly 45 years. Dittmar’s vehicles of contemplation achieve an aesthetic simplicity that reflects nature’s divine signature of intelligence.
Dittmar’s next exhibition, ‘Windows Between Cultures’ will run from 22nd March unto 27th April, 2012 at the Michael Radowitz Gallery, Munich, Germany and in September 2012 he will again exhibit at Tony Raka Art Gallery Ubud.