Writing 2 MahmoudZaini

My Aesthetic Influences (organization)

Starting my journey as an artist, after coming to the

United States, definitely had many levels of being. The trip

towards a new country with an absolutely stunning variety of

art, culture, knowledge, and acceptance started to have its

effect on me early on. From the very start, one of the

largest artistic influences was the modernist abstractionist

Wassily Kandinsky with whom I first started my journey on

the path of artistic identification. I was aesthetically

influenced recently by the illustrator Craig Thompson, and

most particularly with his most recent graphic novel Habibi.

I have brought to my already Saudi/Hejazi identity a merge

of both Eastern & Western ways of dealing with Art that are

evident in both Kandinsky and Thompsons work. In this paper

I will discuss in depth the different aspects that Thompson

and Kandinsky have influenced me with aesthetically through

their concepts, and techniques. I was influenced by

Kandinskys’ musicality, and childlike abstraction while

Thompson pushed me more towards detailed geometric art, and

well thought line/ink work, through these techniques I have

explored the link between art and spirituality.

The largest influence on my identity, as an artist,

must be Wassily Kandinsky. My first encounter with Kandinsky

was in 2011, when I decided to look for the artist that made

the very colorful geometric shapes and abstract paintings

that I enjoyed looking at as a little kid. During my

research I found out that he was the main leader of the

abstractionists, and the first modernist painter; “True

Abstraction seems to have been introduced into modernist art

by a Russian artist working in Germany, Wassily Kandinsky”

(Lucie-smith 466) I was thrilled by his very well calculated

yet spontaneous placement of shapes on canvas, and his

fascination with primary colors. A color like blue would

represent calmness and coldness. Yet a color like yellow

would represent the complete opposite. A circle is the

perfect geometrical shape and so on. How he gave those

mathematical geometrical shapes deep meanings, and described

his paintings with musical metaphors was something that had

never been attempted before.

“During the first year at the Bauhaus, Kandinsky’swork gradually evolved toward a more strictlygeometric abstraction already apparent in 1921. Thereis a strong emphasis on the three primary colors andthe three elementary forms, which are rendered withgreater precision. In particular, the circle becamethe predominant form and acquired symbolic or cosmicmeaning.” (Barnett and Friedel539)

Kandinsky was able to break away from realism by linking

shapes with the cosmos, and reminding us that abstraction is

necessary. He broke out from tradition the same way I, as a

Saudi/Hejazi artist, am doing so while I explore new realms

of art and thought outside my comfort zone.

Kandinsky called his paintings compositions similar to

musical compositions. (see fig. 1) He expressed so much

musicality and feeling on paper through his very kinetic

paintings. Musicality involves, repetition, variation, and a

harmony between visual elements. In Composition VII for

example, the placement of color is not purely abstract and

all over the place, brush strokes are calculated, as well as

color choice and placement. Similar to music, beauty lies in

the structure that involves a variation in repetition that

is overall harmonized. In his book Concerning The Spiritual in Art

Kandinsky writes about Art and it’s role as a unifier. “To

harmonize the whole is the task of Art “ (Kandinsky 3)

Harmonizing the whole means creating a balance of shapes,

lines, and colors on a piece of canvas. A strong movement

in Composition VII is evident from the top right corner of

the painting that explodes into a jam of outward curves that

extended towards the far stretches of the canvas. We can see

curves repeated, a limited color palate just like that of

musical notes, and an overall organic yet full of structure

visual piece that you can’t help but get attracted to in

order to explore. Kandinsky abandoned realism, and moved

towards feeling, expression, and the abstract. He associated

every shape to a concept, every color with a deeper meaning,

and the interaction between them a musical symphony. Each

shape combined with the other would produce a symphony of

expressed emotions. The musicality that exists in his

paintings is a main source of inspiration for my work as an

Animator. Timing Animations to a beat creates beautifully

harmonized movements, and a more entertaining heartfelt

viewing experience. Having your brush move across a canvas

while attributing a musical feature to that movement creates

a rhythm that is highly evident in Kandinskys work. When I

listen to certain tracks my imagination automatically

generates scenes, and animation sequences that inspire me to

create films that are inseparable from sound, and have a

harmonious quality. The timing of every beat and the

reoccurrence of certain sounds to create an immersive

harmonic visual experience help me the most when it comes to

my Animation style. There is a well-known term that

describes sound as 50% of a film, with Kandinsky it was the

soul of his paintings, and for me it’s a vehicle for my

imagination.

Spirituality (or being an artist) in essence is a lot

about staying a child, to remain curious, awed, living and

enjoying the beauty of the moment, and to have a purity of

heart. This link between spirituality and childlike

qualities is evident in Kandinsky’s work. That is why it can

sometimes appear as splashes of paint done by a kid.

Kandinsky explores spirituality once again through a method

that only the fresh minded could appreciate. Children with

their curiosity and freshness of thought appreciate

abstraction, not because they did not acquire the skills of

realism, yet because their imagination is still limitless.

In the painting Yellow-Red-Blue even though it might appear

as a child trying to draw a face, squiggling around the

page, and then placing random shapes, it is not at all

random nor by a child. (See fig. 3) Kandinsky creates in

this piece yet again a harmonious whole that reminds us of

an abstract rendering process that does not forget about

structure. This piece allows a room for the imagination to

explore different possibilities of meaning, and pushes you

away from the rational way of interpreting an image, which

is very childlike. Strong primary colors that lead your eye

all over the painting, juxtaposition between well-drafted

geometric, and organic shapes clearly shows the childlike

features of Kandinskys work. This childlike nature

associated with abstraction is evident in my personality as

an Animator who enjoys cartoons, humor, and imaginary worlds

that can place a person within a new realm. Diverting away

from realism towards the abstract is a feature that pushes

me forward with my animations and keeps inspiring me to

create imaginary worlds that promote a spiritual experience,

instead of a bland one. This approach towards creating art

struck me with awe. I came with fresh eyes from Saudi that

did not know this kind of work or thought, yet had an

already deep connection with abstraction. Therefore From

Kandinsky I have explored depths related to childlike

Abstraction and my cartoon self.

I really got meaningfully inspired through Kandinsky’s

musical, and childlike connection between Spirituality and

Art. Thus, not only did Kandinsky create these works of art,

yet he also supported them with a heavily thought through

spiritual concept. These concepts that Kandinsky associated

himself with interested me very deeply due to my already

very spiritual connection with my art, and process. Creating

art for art’s sake was Kandinsky’s least favorite method of

dealing with art, instead he insisted on the necessity of

meaning and emotion. He explains that materialist art brings

with it negative qualities that dehumanize art from it’s

noble universal state down to a struggle for temporal

excellence. “Hatred, partisanship, cliques, jealousy,

intrigues are the natural consequence of this aimless,

materialist art” (Kandinsky 4)

This spirituality inspired Kandinsky to view himself

and all artists as prophets leading society towards higher

ideals and concepts, this idea was very modern and shocking

indeed.

“Kandinsky…and most of the other giants of early andmid-twentieth century painting shared common spiritualroots. For many of these men and women, art wasprimarily about spirituality, and was perhaps the mostappropriate vehicle for expressing and developing thespirituality that the new century called for.” (Rojer)

Kandinsky viewed the artist very highly as a vehicle towards

the metaphysical, in which society, after the withering of

religion in Europe, should follow and look for spirituality

in Art.

“When religion, science and morality are shaken (thelast by the strong hand of Nietzsche) and when outersupports threaten to fall, man withdraws his gaze fromexternals and turns it inwards. Literature, music andart are the most sensitive spheres in which thisspiritual revolution makes itself felt.” (Kandinsky 33)

This extreme view that Kandinsky holds about his role, as an

artist in the modern era, should be critiqued. It added to

the ongoing private language that artists developed in their

inner “sophisticated” circles to explain, or justify the

“inner beauty” of their work. In the article, A Return To The

Spiritual? Wassily Kandinsky In The Twenty-First Century the author really

questions the spiritual aesthetic Kandinsky associated with

color, line & plane.

“Kandinsky's writings on art and spirituality are sometimes criticized for leaving as a legacy the arcanenature of much contemporary art, as so many twentieth-century artists after him have developed, in just this way, a private language of painting -- what Andrew Brighton has called a 'highly developed inter-subjective brand of emotional dialogue', incomprehensible to anyone not well-schooled in this specialized aesthetic.”(Pickstone 74)

Yet with the rising loss of meaning in this robotic century,

Kandinsky is a reminder of what is beautiful about the

spontaneous, free, and abstract human consciousness. His

deeply emotional and spiritual connection with his art

reminds us of the true meaning of Art and it’s uniquely

human nature.

Most recently, in particular this semester, I was

influenced aesthetically by the work of American illustrator

Craig Thompson. In his latest publication the graphic novel

Habibi I have witnessed a beautiful and technically inspiring

work. The graphic novel tells a very mystical story between

a stranded storyteller and her relationship with a younger

African man whom she takes care of in the desert. The novel

explores a lot of ancient Arabic anecdotes, religious

stories, poetry, and mystical knowledge. The novel has many

flaws concerning the accuracy of some historical stories.

Craig Thompson also from a Western perspective over

sexualized the story, and added an exotic element that could

be very misrepresentative of the Middle Eastern tradition.

With all that in mind, the graphic novel still manages to

capture my attention due to it’s heavy attention to detail,

and intricacy. “Visually, the book is a feast. It has the

cinematic brio of Will Eisner, a feverish, symbolic vision

reminiscent of David B's Epileptic, and a keen traveller's eye

worthy of Sacco” (Faber, Habibi Review) Thompson explores

very deeply the Islamic artistic tradition, and the

techniques revolving around it. From heavily detailed

mathematical Mosque designs, to Arabesque page decorations,

and beautiful calligraphy.

The process of making Islamic art has always been about

the concept of Ihsan or beauty and perfection, which is a

very spiritual concept that transcended the older nomadic

Arabic tradition of disorganization. Craig Thompson managed

to create a very captivating visual experience that was

underlined with a lot of philosophical quotes, and inspiring

stories that are inseparable from Islamic Art. (see fig. 4)

“Islamic Art is based upon a knowledge which is itself of a

spiritual nature, a knowledge referred to by traditional

masters of Islamic art as Hikmah or Wisdom.” (Burckhardt

196) One of the main objectives of Islamic Art is Dikr or

Remembrance, this wisdom that Thompsons work shows is a

constant reminder of the all encompassing infinite substance

that holds the world together. That is why beautifully

written wise quotes are written everywhere for Dikr, and are

written with Ihsan in order to acquire Hikmah. “Since in the

Islamic tradition with its gnostic mode of spirituality,

intellectuality and spirituality are inseparable, being

facets of the same reality, the Hikmah upon which Islamic

art is based is none other than the sapiential aspect of

Islamic spirituality itself” (Nasr 8)

Thompson writes Arabic calligraphy throughout the Novel

with heavily studied brush strokes that go from thick to

thin in an elegant manner. He transforms letters into sand

waves, drapery, decorations, and incorporates the brush

stroke in every page of his 672 bulky graphic novel. (see

fig. 5) “Thompson clearly adores the beauty of Arabic

calligraphy and is enthralled by the landscape and people of

the Arab world. “ (Faber, Habibi Review) This eloquence is

seen not only in the writing but also in the characters,

architecture, and backgrounds. In fig. 5 Thompson even

analyzes Arabic calligraphy as his graphic novel progresses.

He also manages the meaning of words, combined with the

shape they make to create an aesthetic that communicates a

meaning that resonates much stronger than regular

representation. This calligraphic line work reaches out

towards the metaphysical rather than just objective reality.

Language and poetry have that essence within them, therefore

when using them to further communicate an emotion it makes

the meaning resonate spiritually not just visually.

The process of acquiring perfection with brush strokes,

similar to the Japanese tradition, is very minimal, and

meditative. It highlights the ability to focus ones

imagination from the mind through a physical tool, on a

physical medium, in order to show metaphysical beauty that

exists in its meaning. Seyyed Hussein Nasr explains this

concept “Through this perfect surrender, concentration, and

inner annihilation the art produced by him becomes sacred

art. He becomes the instrument through which the celestial

forms become manifest in the spatio-temporal matrix” (24).

Thompson also created the whole graphic style with black ink

on white paper, creating by that striking contrast in so

many of his pages. (see fig. 6) This contrast in order to be

affective needs an eye for composition that can lead the

viewers’ eye wherever Thompson wants on the page. In fig. 6

in particular the merging of western and Islamic ways of

dealing with are so evident it almost summarizes it all. The

nude female figure situated in a very sensual and gestural

pose, surrounded by a thick black that leads you inside her

form where letters reside. The calligraphy within this

silhouette is filled with words like: love, beloved, spring,

the self, thirsty, and other words that go along with the

story. Again we observe the use of beautifully written

language as a vehicle to reach deeper towards a linking

between the physical/realistic and the spiritual/abstract.

This contrast is an essential element for captivation, good

design, and harmony.

The experience with Habibi has enlightened my style and

my work this semester. I have managed to incorporate

traditional Islamic designs with a more modern work of art

that we can relate to. Paying closer attention to fine

detail in order to create Ihsan, and underlining everything

with a wisdom that represents itself for absolute beauty.

Even though I am highly critical of the sexuality he has

projected all over the piece, I still admire a lot of the

skill, and technique that was heavily evident throughout the

piece along side the mystical undertone that accompanied it,

and made it highly relatable. Therefore From Thompson’s

calligraphy work, I learned to create more contrast between

elements through, and was motivated to enhance the eloquence

of my writing and ink work.

One of the most amusing and mind boggling aspects of

Thompsons work is his complete mastery of Islamic geometric

patterns. In the corner of every page we find detailed

illustrations and arabesque designs. No space is left out

without a trace of decoration. Large objects with intricate

designs, and full-page illustrations housed within the

framework of yet more geometric shapes. (see fig. 7)

Thompson mixed many types of geometric patterns; from the

Persian, Indian, and North African styles, by that he

created diversity that is just outstanding. These geometric

shapes are made with such intricacy; it can lead your mind

away from physical objective thinking and more towards the

Abstract. Getting lost within this jungle of geometry can

only remind us of the platonic realm of perfected math and

abstraction, therefore towards the metaphysical rather than

the physical. For example in one of my favorite

illustrations in the whole book fig. 7 where main character

is running towards the palace main door where she will meet

her long lost lover, a clear masterpiece of Islamic design

is observed. In it we find the Persian rug design, which

symbolizes a garden in heaven, as the door design.

Intricate star shaped floor designs that took me a whole

night to analyze, and beautifully made arabesque designs

that explore the organic side of such work around on the top

of the door. The mathematical and geometric splendor of this

specific illustration marvels me, and again takes me towards

the abstract, spiritual, and structurally masterful nature

of such work. Thompson was able to embody the whole story of

his within this geometric structure therefore reminding us

about the mathematical nature of this world. Geometric art,

while being done, is very meditative and absolutely

annihilating. The process of deep concentration in order to

get every shape to link with another breaks the barrier

between one and his art piece, which creates a very

heartfelt unity with the work.

The moment I received the graphic novel Habibi from my

friend, I was immediately inspired to create work that

incorporated the novels style. The amount of connectivity I

found with it was beyond picturing. The ability to merge

both an old tradition, with a more modern way & style of

storytelling (graphic novels) really pushed me to create

work that did not lose my traditional essence. I

incorporated geometric patterns within my pieces, and I tend

to now house my illustrations within their framework. I use

them either for decoration in order to achieve Ihsan, or as a

reminder of the spiritual and abstract. Sitting down and

trying to figure out how every shape can connect to the

next, studying the math that goes into it, are all parts of

a process that remind me of the rational, scientific

formality of the universe and the necessary incorporation of

that in my work. The connection with my art becomes a unity

with the whole of existence that merges both the rational

and irrational, the realistic and the abstract, creating a

unity that is universal and well balanced on a page.

Pointing out specific artists who have influenced my

aesthetic is very hard sometimes, yet the general impact

Kandinsky had on me is tremendous and the stylistic theme of

Craig Thompson recently has altered the way I approached my

illustrative style. Kandinsky merged eastern spirituality

with his western fine art techniques to create a whole new

line of artists that dwelled in the abstract, and embraced

the turn away from realism. Craig Thompson created a story

that is technically inspired by Islamic design and art yet

produced on a very Western medium. Both Artists inspire me

to create universal art that can withstand technical

formality, musicality, and abstraction while at the same

time explores the depths of spirituality and rationality.

Therefore from the Oriental illustration style of Craig

Thompson, and the deep understanding of the connection

between Art and Spirit my work has moved to combine elements

of rational (western) and abstract (eastern) worldviews &

techniques in order to create work that is childlike,

concerned with the spiritual, and representative of my

polarized identity.

Bib:

(1) : Lucie-Smith, Edward. "The Birth of Modernism."

Art and Civilization. New York: H.N. Abrams, 1993. 466-77.

Print.

(2) : Lipsey, Roger: An Art of Our Own: The Spiritual in Twentieth

Century Art (2nd edition) (Jan 1997, Shambala Publications)

(3) : Kandinsky, Wassily: Concerning the Spiritual in Art (Dover

Publications, Inc. New York 1912)

(4) : Barnett, Vivian Endicott., Helmut Friedel, and

Rudolf H. Wackernagel. "Bauhaus and Paris 1922-1944."

Vasily Kandinsky - a Colorful Life: The Collection of the Lenbachhaus, Munich.

New York: Harry Abrams - Dist., 1996. 539+. Print.

(5) : Faber, Michel. "Habibi by Craig Thompson – Review."

Www.thegaurdian.com. The Gaurdian, 16 Dec. 2011. Web. 1

Dec. 2014.

(6) : T. Burckhardt, The Art of Islam, trans. P. Hoson,

London 1976. Pp. 196ff.

(7) : Sayyed Hussein Nasr, “Islamic Art and Spirituality”

State University of New York Press 1987

(8): Pickstone, Charles. "A Return To The Spiritual?

Wassily Kandinsky In The Twenty-First Century." Modern

Painters (2006): 72-75. Art Source. Web. 19 Apr. 2014.