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Nadir Afonso (December 4, 1920 – December 11, 2013) was a geometric abstractionist painter.
Contents
Life
Formally trained in architecture, which he practiced early in his career with Le Corbusier and Oscar Niemeyer, Nadir Afonso later studied painting in Paris and became one of the pioneers of Kinetic art, working alongside Victor Vasarely, Fernand Léger, Auguste Herbin, and André Bloc.
Theories
As a theorist of his own geometry-based aesthetics, published in several books, Nadir Afonso defended the idea that art is purely objective and ruled by laws that treat art not as an act of imagination but of observation, perception, and form manipulation.
Quotes
Art is usually conceived as subjective, but for Nadir Afonso it was purely objective and ruled by laws.
"Art is a show of exactitude", "a game of laws in spaces but not of significations in objects".
From these axioms, his own personal theory of geometry-based "rational aesthetics within an intuitive art" evolved, which he published in book form, alongside his philosophical thoughts on the Universe and its laws.
These works are the key to understanding the artist and his art, and are summarized by himself in a few words:
Searching for the absolute, for an art language in which shapes possess a mathematical rigorousness, where nothing needs to be added nor removed. The feeling of total exactitude.
Because of his rationalism, Nadir Afonso confronted Kandinsky, the father of abstract art, and criticized him for subduing geometry to the human spirit instead of making it the essence of art.
This "geometry of art" is not however the "geometry of geometrists", as it is not about symbols nor anything in particular; rather, it is the spatial law itself, with the four qualities of perfection, harmony, evocation, and originality.
His work is methodical, because "an artwork is not an act of 'imagination' (...) but of observation, perception, form manipulation."
I start with shapes, still arbitrary. I put ten shapes on the frame; I look at it and suddenly a sort of spark ignites. Then the form appears. Color is secondary, used to accentuate the intensity of the form.
Nadir Afonso did not renege on his early expressionist and surrealist works:
An individual initially does not see the true nature of things, he starts by representing the real, because he is convinced therein lies the essence of the artwork. I thought that too. But, as I kept working, the underlying laws of art, which are the laws of geometry, slowly revealed themselves in front of my eyes. There was no effort on my part, it was just the daily work what led me to that result, guided by intuition."
See also
External links
- [[]] @ Wikipedia
