Abstracting Abstraction
Traces of Pollock deKooning and Warhol

                          Our senses and minds abstract what we call reality.  Art further                         abstracts this abstraction.
     In art, abstraction does not end with the artist; the final touches are those of the viewer. When Magritte painted “Ceci n'est pas une pipe” (This is not a pipe) he realized only half a truth.  The full truth is that once the painting has been exhibited and seen, it can be anything the viewer chooses, regardless of what Magritte intended.  It is “Ceci n'est pas une pipe” only to Magritte himself.
      The contemporary artist, Sherry Levine pushed the concept further in her photographs after Walker Evans or Monet where the medium of photography was her way of abstracting the perceived Realism of Evans and the Impressionism of Monet.  In my recent work “Seeing Art Anew,” I have added my own layer of abstraction to the works of Matisse, Cezanne, Monet and Van Gogh, and further abstracted works of Picasso.
     In this series, Abstracting Abstraction - Traces of Pollock, de Kooning and Warhol, I chose three artists, not only because I love their work, or because we have shared the same environment—the beautiful coast of Long Island—but also for what their work means to me in context of my own.

     Can an abstract work be further abstracted?  Can a conceptual work be abstracted?  Can a vision encompass art, nature and self?  The answer to these questions is a resounding yes.
     For me, Pollock’s work is an abstraction of an imaginary landscape that exists only in his mind.  It is a vision executed through “action painting” that encompasses time and chance, a mixture of accident and intent.  Where he aims his paint is one thing; where it actually falls is another.
     De Kooning’s morphing of lines and adding texture and color to remove the boundaries between representation and abstraction is a visual suspension of disbelief.
     Warhol’s superb ability to make art from the ordinary, to challenge what is customary and expected and present it regardless of the medium is fascinating and inspiring.

     As I think about the work of all three, I know that what I think may have nothing to do with what they thought.  What I see in their work may have little to do with what they saw or intended to say.  Looking at their work, for me, is a journey I take.  And what I see and perceive is very personal and is only and totally my own.
     This work is a journal of these journeys into the work of Pollock, de Kooning and Warhol, using my own medium, which is photography.  It is a journey into my own world, where I like to believe that all is abstraction and realism is a fiction. I hope the viewers will look at my work freely, and alter it in their minds as Pollock did, morph it as de Kooning did, and discover that nothing is ordinary, as Warhol did.
     I invite them to abstract it further, and discover the infinite and the limitless.  What they will see is an image and meaning that will have something or nothing to do with what I meant it to be.  The final reality of an artwork rests with the viewer, and yet for the artist, his vision and his concept are unscathed.  They are different journeys, whose paths may or may not cross, but neither is more or less true than the other. 

     In this work are traces of Pollock, de Kooning and Warhol.

 

                                                                                                    Adel Gorgy

 
    
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