Excerpts from Paul Blomkamp's Catalogue, 2007:
‘Half my life ago I died, and went, and came back. Between coming and going, however long that may have been, the invisible became visible, and the complex choreography that was energy itself, became evident. From that moment on, I stopped painting pictures and began the attempt at mapping out this intricate matrix of energised threads of light. My real work began. The anatomy of an electric being. The anatomy of an electric landscape. The anatomy of an electric void that had been revealed in all its complexity. No more clever ideas. No identity. No intellect. No culture. No learned conditioned response. Nothing less than the real thing.´
‘I see. That´s why I am here. I see the world. I see and I despair. But the older I get, the less time I have to allocate to despairing. The more time I dedicate to seeing. Seeing the unseen.´
‘So many volumes of words have been written and spoken about the state of our traumatized world, shivering and trembling as it spins in its lonely orbit around a lonely expiring sun, somewhere in the middle of nowhere in a size-less ever expanding universe. So many worlds and theories about the dilapidated past. So many worlds and theories about the demise of our future.
I find no answer in words. Only in true seeing. The only hope and the only optimism lie in clarity; a clarity that springs from true seeing. Anything that may approximate an answer lies in the unseen. It is in the unseen, where clarity is at its extreme.´
‘I want to know what is going on. The fact is I occupy a space in this vast cosmos.
I see my place in this vast space. This vast space puts me in my place. Somewhere, in the middle of this ambiguity, I desperately need to know what´s going on. That is essentially what my paintings are about. I need a vehicle to transport me through this apparent chaos. Painting!´
‘Exploring and exposing the invisible. It has taken almost 30 years. Attempting to illuminate the unseen. To be filled with the bright nature of living. Allowing hundreds of billions of brain cells to celebrate their consciousness.´
‘How we look at things. The edge of a circle, if made large enough, looks like a straight line. I am after unconditioned looking and unconditioned seeing. Nothing is quite what it seems to be. The passing of time reveals different aspects of the same thing. The alternative processes of seeing reveal different aspects of the same thing´
‘Imagine this field. Immeasurable in size and dimension. Vast! Beyond our dreams or imaginings or calculations .. I like to call this place, this field, this state, the Free Electric State. After all, I am an artist and not a scientist. I am fascinated by our essential dependency on energy. By the landscape´s essential dependency on energy. My very consciousness is constructed of and dependent on this fluid free electric state’.
‘I am very quiet. I am very excited. My hand is fast. My hand is furious. The frenetic scratching on the paper stops when it is perfect. Then I can breathe again´.
‘Do it! Fast. Bright. Without thinking. Without explaining. Making the feeling visible. Close the eyes and see´
From my Notebook: 24 February 2006
‘Felt down and energyless. Then late afternoon trip to the Magaliesberg. Inspiring!
‘Return to Johannesburg under dark impending storm, wild invisible electricity everywhere, like a massive wave about to hit. Saw my next painting with absolute clarity: bright luminous light. Every line, every detail, in less than a second. Long
grass foreground, with seeds of grass shining like lights. Lots of highly charged light and air´.
From my Notebook; 24 February 2006
‘Every fraction of my surrounding saturated by the free electric state.
That night watched film on Jackson Pollock, he was self-destructive. I am self-constructive! Also very inspired by beautiful new book I bought on Van Gogh:
‘The Master Draughtsman´ - excellent energy, excellent lines.´
‘Beautiful clear sunny day, 30 degrees after potent thunderstorm and rain last night clear, clear air, then humid misty heat. Small works on paper - ‘Highveld Skyveld´, felt very excited re the last few landscapes, seem more energetic and immediate, clouds seem to hang over the viewer, better use of light and space and distance. Felt Great! During and after painting. Graphic. Speedy. Energetic. Touch. Feel. Loose. Like a quick drawing in colour.´
‘I spend a lot of time driving through the landscape. Sometimes the response is immediate, dramatic. I drive back to my studio in a rush. The charged landscape has charged my receptors. The air around me is thick, flooded with trillions of charged particles. I am surrounded by this electric mist. There is a storm brewing in the brain. Lots of flashing lights and lines needing release. These paintrings of the Highveld were done at breakneck speed ´freehand´ with the back of a teaspoon´.
‘We use our words to entangle our brain. To construct ideologies and philosophies. Entangled brains can´t embrace intelligence. For me painting disentangles. It frees me and clears me. It deletes all the stuff I don´t need. My only security lies in my access to this intelligence. Painting is my access.´