as Thought is Thought
in the presence of Lilla's (her family and friends' nickname for
Kristin) calm yet powerful paintings, a viewer's first impression
might very well include a strong sense of being subjected to an
overly controlled and strong-minded multitude of aesthetic selections.
Somewhat paradoxically, however, her paintings are far from being
brought about with the aid of any mechanistic or predetermined method.
Rather, each entirely momentary "aesthetic selection"
comes across as a specific consequence of a lightning-fast and unique
act, or, in the spirit of that which Nietzsche succeeded in making
us understand: "willing" is not an act like any other.
without a doubt, viewing the combined strength of a multitude of
unique elements in Lilla's paintings reveals to us her ability to
take command of this extraordinary instance, and this alone accounts
for her uniqueness as an artist.
general intensity and high caliber of lilla's visual thinking is,
perhaps, most strikingly revealed in what might be termed the focal
points of every painting in the catalogue: "thinking"
eyes. Here we are invited to experience finite compositional resonance
or identities or identities that seem to be one with a pictorial
plane of singular thickness and unlimited possibilities. These infinitely
diverse and aesthetically produced compounds of sensations generate
and constitute, along with the materializations of Lilla's more
comprehensive feelings for different personalities, the overall
substance contained in her large series of paintings entitled "Famous
discovering of the immanent invisible content of Lilla's paintings
goes a long way in convincing us that Foucault's memorable phrase
"fiction consists not in showing the invisible, but in showing
the extent to which the invisibility of the visible is invisible"
turns out to be true: we are witnessing the presence of sensations
expressive of unlimited versions of human character and uniqueness.
Lilla has been acclaimed as a "multi-faceted woman". However
flattering this assertion may be, the fact remains that, as all
exceptionally original and individualistic artists, she has an extraordinary
strong command of "only" singular, yet double-faceted,
compositional powers: Mind and Matter as distinct yet inseparable,
eternally reversionary, Natures.
again, with Nietzsche's help, we understand Lilla's expressive,
critical and creative command of multiple yet unitary powers: thought
is creation and painting is thought.
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