The triptych as an encroaching religious altar space is transformed by the modernist demand for an open work from the classical, narratively-oriented form of expression into a medium for self-reflection. In this sense, the aesthetic presence is preserved without stripping the observer of his request for interpreting the meaning, by which they gain cultural and didactical references. Elements, such as the tripartite structure, deep black pigment, expressive technique of painting and the elliptical shape, combine in the observer uniquely and place them in opposition or agreement with the artist's intention. The Triptych is a static sculpture, with its wings entering the exhibition space – the space pertaining to the occurrence of introspection. The act of »looking within« should in this instance serve to control ideas through the prism of experience; through all thoughts and beliefs derives a general knowledge of the self and the world around us.
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