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I. GENERAL PRINCIPLES OF THE NEOPLASTICISM STYLE 1. The plastic medium should be the flat plane or rectangular prism in primary colours (red, blue and yellow) and in non-colour (white, black and grey). In architecture, empty space counts as non-colour. The material can count as colour. 2. There must be an equivalence of plastic means. Different in size and colour, they should nevertheless have equal value. In general, equilibrium involves a large uncoloured surface or an empty space, and a rather small colored surface or space filled with matter. 3. The duality of opposing elements in the plastic medium is also required in the composition. 4. Abiding equilibrium is achieved through opposition and is expressed by the straight line (limit of the plastic means) in its principal opposition, i.e. the right angle. 5. The equilibrium that neutralizes and annihilates the plastic means is archived through the proportions within which the plastic means are placed, and which create the living rhythm. 6. All symmetry shall be excluded.

II. NEO-PLASTICISM AND FORM In nature, relations are veiled by matter appearing as form, colour, or its natural properties. This ‘morphoplasticism’ was unconsciously followed in the past by all the arts. Thus inthe past, art was ‘after nature’. For centuries painting plastically expossed relations through natural form and colour until it came in our day to the plasticism of relations form and colour; at present the composition itself is the plastic expossion, the image. III. NEO-PL ASTICISM AND COLOUR Despite of all that ‘interiorized’ plastic expressions, a neo-plasticism still is painting. Its means of expression is pure and definite colour, in places which remain equivalent to the surface of the picture; it is not weakened by having to follow the modulations of the form; thus it is stronger than in morphoplasticism. Colours finds its equivalent opposition in non-colour, that is, in white, black and gray. I V. P SYCHOLOGIC A L CONSEQUENCES



Balance through the equivalence of nature and mind, of that which is individual and that which is universal, of the feminine and the masculine- this general principle of neoplasticism can be achieved not only in plastic art, but also in man and society. In society the equivalence of what relates to matter and what relates to mind can create a harmony beyond a unity. Neo-lasticism demonstrates the exact order. It stands for equity, because the equivalence of the plastic means in the composition demonstrates that it is possible for each, despite differences to have the same value as the others. Equilibrium, though a contrasting and

CONCLUSION neutralizing opposition, annihilates individuals as particular personalities and thus creates future society as a real unity.

Leaving aside the analysis of he actual construction of a painting (the concept of opposition and asymmetry) the important thing to notice in this piece of writing is the underlying idea of the rational harmony of existence, which is reflected throughout art and society; art, through this rationalism, gains an ethical value apart from its aesthetic value, or rather gains an aesthetic value because it has anethical value. There is undeniably a kind of Messianic note in all this, the resolution of Mondrian’s long interest in theosophy; perhaps it would be more correct to say that his theosophy an the theory of neoplastocism followed on from one another, the former remaining vague and nebulous, the other extremely limpid,stemming from the same moral impulse as the ‘new order’. Mondrian’s theories of neo-plasticism might be termed his personal theosophy, the clarification his own mind of the problems of the soul and the world.

We were five people which wanted to work together and needed to choose one picture and one artist to present his work. We decided for Piet Mondrian because his paiting in our view gives a lot posibilities for presentation. They are simple and strong in the form, and the context and meaning can't be so easy changed. They are on the border of becoming a pattern, when you start to play with repeating them. We wanted to experiment with the space, which is not easy (not gallery room) and it is daily life used in the school. So we make the effort to paint the walls white, and buy some things, but we still had the doors, and cavities in the walls, big dirty windows and staircase.

In the end we made five different pieces in one corridor and toilet. Every one of them was idea and iterpretation of other person, and was dane with other tools and equipment, using specific space problem in the room. So there were gold frame in the toilet- fight with cliche. Tape on the windows, which was giving shadows on the wall. One beamer where projection was set on the mirror, one paspartoe presentation which magnify's the value of work. The fifth idea is conected to the previos one is a cube which goes out from the wall. And its attacking the viewer.

We introduce You to Piet Mondrian Composition Nr 12

Piet Mondrian was and still is concidered as as a master of composition and pure abstraction of forms. Because of that, choose him and we we decided to also to make a our own composition. Play with the enviroment and the art piece in order to discover new ways of presenting. To give You a new view for his work.

We decided for using the window, to get more closer to the nature and also to use movement of the sun to get the shadows and blue reflections on the wall. We creat an image which never looks the same also it is a kind of interpretation of the Piet's Mondrian Composition Nr 12. It's always different depended on time and light. We wanted that in sunny day looks it different and in the rainny, cloudy day we can't see anything. Playing with the viewer, and his perspective-tha's what also Piet Mondrian was doing. There were even idea that we can recorded a changes of those shadows and reflection. This coul be interested to see the way of the sun in this room. In this way of presenting when interaction between work and the space hapen, we can see how important is light. That can creat the work but also make it not seenable. In this case what we did is not only presentation of Piet Mondrian painting. In this setting, in the totally new space, where in the background we can see sky, louds, sun, it looks like a cage or prison, and the lines are getting to be really stronger. Work get a new meaning. It's not only interpretation, for me it can be also a example of metaphor for seeing art- which depend on viewer mood, weather, presentation and surrounding, and our experience in life. One day we can see something important, nice in colors which gives us positive emotions, but when we come next day to see it again, those feeling can be totally different from which we remebered. Circumstances are different.

C O M P O S I T I O N N O .12 W I T H B L U E , (19 3 6 - 42 ) , O I L O N C A N VA S , S I Z E : 6 2 X 6 0 . 3 C M , I N N AT I O N A L G A L L E R Y O F C A N A D A

In this work we use four paspartoe's cardboards which are hanging in the wall cavity and finish with doors. In the end of those paspartoe's hang the choosen painting. The goal of this presentation is to magnify the value of work. It's about seing work from suitable distance, and to make a effort to really see the work. It also gave you an extra feeling of space, that you as a viewer dive in to the frame to explore the inside. Plus white color and smooth, soft light on the surface of cardboards gives to it more atmosphere. That cause the lost of distractions in the surrounding (the doors in the back do not disturb viewer anymore). Painting is in the space, but in the same time is out of it. Isolated. Becames part of presentation. Presentation is conected to space, composition, and grid of Piet Mondrian painting, but also it is a kind of art work in itself. In this case also we are playing with previous way of presentation, which was forcing use to make step backwards, and this one is encouraging us to make step forward. That's contradiction.

gold section

Cube sieze 10 x10 x 30cm is atached to the wall. It's on the left side of the room, so after coming to the room trough the door, you can see it directly, and then change a bit your position to pas it. Then you notice that in the end of cube is a painting, which is pointing it to your face. Shape cause that in You are waking up feeling of attack, and you want to make step back. This prsentation gives more strength to the painting, but also image is become a part of cube, they started to make completed formin this case a new one. It's because of the cube which is made from the same materials also white color and most of allit is just a strong shape in itself. Not comon to see it everyday, so you can get the feeling that something grew on the wall. We used normal top light (given in the space) plus day light so we get two nice shadows under the shape whitch creat a triangle.

Is this cliche? Maybe... Toilet is a place where everybody use. Strange place of privacy. Some people works, read or just flip through images in the newspaper. When its a public space, wall's can be used for a anonymous comunication with the world. There is a freedom of expression. Freedom of word. We had toilet in our corridor, so we decided also to use it. When you are in the museum, you can see a variety of frames. Most of them are unique, maybe gold, and some times they are even more important than the paintings in itself. Or they simply belong to it. We wanted refer to museum. Bring a bit of clasical way

of presenting. That our project is more complite. We thought about hanging Piet Mondrian composition in the toilet. To dare with cliche of those two things together. Kitch and perfection. We hang the small gold wood frame so you can see it good when you sit directly on the toilet. So yu can really focus and distruct your thoughts during you processing. The another cliche question is coming up should art be in the museum or in the public space? Or is this really art piece or this composition do not have any value and should be splashed in the toilet directly? What is destination of art? How we should use it? Is it just some nice object which can feel emptyness of our walls?

use space

p r o je c t hen you w e c la ake p w h ic h t p ic t u r e e h t f o n o r m a t io and def

(with certain angle) in the corners of the walls.

a pe rfe ct im ag e. ct an ge ls to rea ch ed rre co in rs rro mi up We se t


conflict with the white space  

interpretation of Piet Mondrian Composition nr12

conflict with the white space  

interpretation of Piet Mondrian Composition nr12