The first form.
Areality as a plane. Latin word "area" (space, zone, area) is the reason of our
term in this case. Besides, we have relations with emphasized plane/surface. Even direct
translation of the English word "areal" onto Ukrainian can show that. In our
case it is flatness, artistic media (environment) and so-called "space of
involvement", i.e. a plane where canvas has influence on the recipient. The
environment around art works continues two dimensionality of Bazhaj's painting. When
recipient enters that space, the areality of painting spread over and, consciously or
unconsciously, gets into spectator's mind. One can even claim the spreading of painting
areality beyond the boundaries of the concrete artistic influence, understanding by that
the statements about humans' mental activity, their reflections of what they have seen. By
the way, such interpretation often can be found in the terms of cultural anthropology,
when somebody says about the interrelations between different culture environments
(areals).
The second form.
Areality as contrast to reality. The origin of our term leads to the word
"reality", which is accompanied by negative particle "a-".
"A-reality", or unreality of something (situation, fact, environment). In visual
meaning every painting is already unreality. But it is such reality that is different from
virtuality. Akille Oliva Bonito suggests, that 'development of information technology
implies a transformation of artistic languages and leads to the "anorexia of
art", a growing movement away from the object towards the concept. Thanks to new
digital technologies we can now produce images, signs, forms and creative processes that
have no need of a physical location but rely on the directions and dynamics of the
Internet. The result is "anorexic art", which strikes not only the eye but also
the brain of the spectator'. Some people suggest that the new media could bring about the
"death of art". However, even "virtual reality" is no substitute for
the creative process of art: as the name itself it is says, "virtual reality" is
a fiction whereas art is a process of formalization of the creative impulse which begins
from concrete materials which the artist models, assembles and unites in order to present
a "counterform", different from the chaotic objects which surround us. What is
ART? Let's consider, that it is skillful and representational process of expression, which
historically linked with the creation of objects to which the artist gives aesthetic
value. In this situation spatial reality plays an important role (position of the art
object in space and its form).
In prehistoric times in Lasco caves there were no concrete two-dimensionality in art
forms. Middle ages discovered and developed the concept of window that determined art
forms for next seven hundred years. From now painting is represented as window and
spectator is able to penetrate an outer world using it. As a result canvas represented by
rectangular shape of the frame. Even nonfigurative and abstract paintings (which have
nothing that can be seen through window) have the same rectangular shapes. Physiologically
human's eyes scan art pieces. According to R. Arncheim's such scanning goes from left to
right. Let us look now at Vasyl Bazhaj's exhibitions.
A definition of "semiotic art" appears in his experiments. It represents the
pure idea of art, which is not a physic object, and even not a relation between object and
subject, but (virtually) the image projected on the visual core of the spectator's mind.
It is in the brain where art is created. The data for its creation do not appeared as a
result of scanning but emerged directly in the brain. Thus, it is not necessary to make
visual scanning. Object is outflanked all around and you don't have to turn your head for
three-dimensional effect. Eyes are concentrated on represented object, but a convergent
phenomenon disappears. After all, even the process of realization in Bazhaj's exhibitions
is the evidence of "virtual/areal" approach. There are no objects or subjects in
virtual point of view, but only interactive elements. The same one can see in artist's
exhibitions. The time is coming to moment and space has infinitely many levels of
realization.
In Bazhaj's approach one can see not only double, but
even triple representation of objects! The laws of perspective, of course, appear in
different way then obviously… Ervin Panofsky noted that liner perspective is not only
objective construction and that spatial relations can be realized in other forms. First of
all, he understood art works as a priori symbolical and functional constructions that in
their form and content are idioms of time and need to be explained. Panofsky contends that
the evolution of all artistic forms can be traced in informational adoption of other art
and science systems, as well as new forms of vision. Such development of the new vision
forms is especially important due to contemporary art and Bazhaj's creativity. Panofsky
testified art works in the way of "(de)termination". The same
"(de)termination" can be seen in Bazhaj's semiotic experiments. Spectator has to
think about reality and about its representation/imagination. But he isn't able to see
that reality – it is virtuality. And he has two ways: to interact or to neglect that
reality.
That is how the concept of areality appears. It is quite interesting practical phenomenon
(in a way Bazhaj's invention). The concept testifies about a new type of art. Semiotic
areality - that is a way that Bazhaj's exhibition can be called. And it must be said that
it is new art of an old good painting and its technologic features.
Roman Hankevycz
art critic
