Athanasio Celia

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Abstract Verticalismus paperwork Mixed Technique
Abstract Verticalismus paperwork Mixed Technique
Deep blue (abstract Verticalismus) Oil On Canvas (Mixed Technique) 60 Cm X80 Cm
Sunset trilogy (abstract Verticalismus) Mixed Technique On Paper 98 Cm X 58 Cm
Lava rain (abstract Verticalismus) Oil On Canvas (Mixed Technique) 60 Cm X80 Cm
Volcanic ashes (abstract Verticalismus) Mixed Technique On Paper 24 Cm X 36 Cm
Act in the wind (figurative Verticalismus) Oil On Canvas (Mixed Technique) 70 Cm X 50 Cm
Quick Facts
mixed-media, performance, exhibition/performance


Greek painter, author and art expert.

Founder of the “Verticalismus” art theoryNow will follow excerpts of the manifesto which was signed by supporters of that particular art-theory. This manifesto-proclamation inaugurated a "Verticalismus - Art Exhibition" which was held in a German art museum. Thus,"Verticalismus", as an expression of contemporary art, clarifies that "when we mention the cathetus" (the vertical), we don't necessarily mean any straight line that starts from a 90 degree angle; but the line that follows the thread of the plumb bob (or, plummet). Otherwise, the horizontal line would also be called "cathetus" because it is vertical to the vertical. But cathetus is only that line which connects straight and dynamically two centres of gravity. It uses the force of gravity to be always vertical, though the earth rotates on its axis. Just as the rain that although it drips seemingly always vertical and is falling down towards us, seen from a fixed point outside the Earth - depending on the time -, falls laterally or even in the opposite direction from the down to the up on the soil surface of the earth. Since a point is not dimensionally, the first true dimension is certainly the line. The second dimension is the plane (which is created by two intersecting lines); the third is the volume (which schematically is formed by three lines). And the fourth, to us known dimension, is time. So that the other dimensions exist, the first is prerequisite. But for the existence of the first dimension, there are no prerequisites. That is why the first dimension - the line - is so close attached to "nil" (to "the nothing") like nothing else. Our line is vertical because it identifies itself with the gravity. Knowing that the three-dimensional space includes, length, width, height, we will fix now our attention on the term that we define as height. This is because the height indicates the direction of the gravitational force, as well as the opposite centrifugal force; and when these two forces balance themselves, easily produce the idea of the "Euclidean curvature"; but also furthermore they contribute to the better theoretical understanding of the "relativistic curvature of time and space." The first "pencil line of the Creator" must have been a vertical, or "upright" in the etymological sense of "right". From a moment time began to thump like a cardiogram, with our "vertical" sketching up and down "on white paper." Vertical, but in which direction? In "the nothing" in which it was born is no direction. That is why the line itself, which must have a direction by its very nature, at the moment of its creation from scratch was committed to adapt itself simultaneously to infinite directions. A straight line just born in the nothing is forced to appear like a sea urchin with endless spines, so to point at all possible directions at once. This, however, creates, in paradoxically or orthodoxically way, new dimensions, and produces confusion. The confusion caused by this paradox (the line in the void that must have all directions simultaneously) in turn generates movement; and the motion in turn produces "time". But time is the story of the gravity, and in its Kingdom we belong and breathe, there where only one canon applies, namely that everything is mutually attracted from their centres of gravity. The mother of our world is gravity. An upright geometric line does not have any width, but only height. It's something that declares the height, but has no body. The existence of the direction and the simultaneous nullity of width, cause that our line is both, existent and non-existent. If it was not possible that the vertical line exists, then everything would be non-existent. In turn, when the line would continually exist, everything would be ceaselessly existent. But that does not seem to happen, because everything that is born transient.
Coincidentally, perhaps, is the number symbol for "the One" in most arithmetical regulations a vertical line. The "One", for which Parmenides said that "it exists and at the same time does not exist, that it is movable and immovable, that it is the same and different with itself and with all other things"! Just like the small step of a "Kouros statue" is expressing the beginning and at the same time the hesitation of the with common sense vaunted life; in the same way the vertical line that oscillates between existence and nonexistence, symbolizes the related "hesitation of the universe". A few decades ago, the art was dealing systematically with the fact that behind the figure hidden geometry exists, and that the geometry connects the structure of the optical sense with the thought, which then the result of the senses into mind transforms. The "Cubism" aimed at the mind, in a catalytic and unexpected way. It showed more clearly the "being" of things, of the existing, and of the potential beings. But the beings for to exist, have to correlate constantly with "the nothing", "linearly and vertically". Consequently, must an entity with identity, at the same time something "not" to be. The subtraction of "what it is not," defines the "what it is"; without the "not to be ", so "the nothing" , does not exist the "being". If a white circle is painted on white paper, then this circle does not exist. The "nothing" is the background of the things, and makes it possible that things take shape and form. The vertical line is certainly nothing new. Unconsciously the people's art used its power because they aesthetically knew what they not understood yet. We can see it in religious totems and other archaic art, both in modern architecture. But most outstanding it appears through the architecture works of the ancient Greek temples. If someone is watching from a distance so a temple, that what impresses him most are the vertical lines which the pillars are embodying. All other impressions are secondary. Incidentally, for sure sometime every one of us has experienced it. But if you look further, even from a closer distance, the "vertical grooves" of the same ancient columns, then you will be taken over by a magical feeling, which couldn't be produced by no other, simple, smooth cylindrical column. Anyway, the ancient Greeks had a special intuition for the sublime, so their excellent aesthetics completed possibly even their knowledge. It is furthermore, no coincidence that man, the only blessed with intelligence being on our planet, the only "vertical" is; so the only creature that has a vertical body fuselage (spinal column) during his natural posture. Man is even also the only one who has the ability to think so intensive of a vertical line as the initial possibility of existence, that while he is viewing it, for instance, from inside a work of art, to suspect that behind it perhaps the bare identity of nothing is hidden". This was a philosophical summary of Verticalismus".

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