THE POSSIBILITIES OF WATERCOLOURUntil recently in the art world, things, occurrences and phenomena seemed unquestionable and clearly defined on its limited shelf of knowledge and understanding. The questions only related to the quantity and quality of that knowledge and understanding, and maybe to some extent to their essence and principles. There was interest in what exists and why, what is good, exemplary and not, why? or what precedes what? or what grows from what? Then the clear order of the world was shaken and even the systems of genre and gender became debatable and unclear. Not only has the difference between painting and sculpture been shaken over these sixty years, but the definition of concepts such as the difference between theatre and art or for example a musical event has come into question. This is without mentioning the emergence of technology and new media. On the one hand new electronic documents and computers, on the other new physics and chemistry with solutions, pigments and processes never seen before. The problem of contemporary art has been dramatically reflected in the naming of departments of the modern art gallery. The classic division of workshops or cabinets into painting, sculptor or paper has become powerless to describe the variety of forms that are the fruit of minds and technology. Not only are the new media and machines confusing, but so are the already ingrained combined techniques of apparently traditional artistic forms. Clearly we need to mention the new technology in the media which at first sight seem well-known, clear and without question, but which do not behave as such when put to use. This fate of not being recognisable, new uses, new technology and therefore new ways of thinking and definitions has come to watercolour, that is the artistic technique of painting with watercolours. Watercolour is the most widespread artistic medium, taking art from any angle, from the past of recent civilisations, from our childhood, to anyone's old age. Classic watercolour is characterised by the alla prima approach. The colour of the surface is one'of the tones of the picture but the impossibility of later copying or corrections brings a certain transparency, lightness and flimsiness. The strength of the colours is the strength of the pigment and the variety of tone comes from the quantity of water. Therefore the essence of watercolours and their peculiarity, uniqueness, meaning their unrepeatable and recognisable character, is in the water since water is the only liquid which determines the tonal quality of the painting. Maybe this could point the way to a new way of thinking about watercolour, or perhaps in the future we should think more about water than about the surface or pigment, or industrial formation of wheels or cubes or arrangements like some form of chocolate box. In any case, when considering the present day and thinking about the new era, we sense a universal shift in traditional knowledge and definitions and watercolour will not escape this either. Watercolour cannot remain simply watercolour, nor can it become simply a picture on paper, as the most frequent escape from traditional concepts. We must leave the technology of pigments to the technologists, the surface used for artistic expression is relative in any case, so for a hint of new insights and a future definition we are left with water. Passing over the surface with water, thinking up motifs, themes, approaches or time, we create a water picture. Let us make what is dissolved in it relative, since something always is, since it is never a pure collection of molecules of hydrogen and oxygen. For Bela Hamvas water is the original element, although he is talking about wine, he says: This is not at all the right time to talk about water, for it is, if possible, something greater than wine. Narcissus' picture was in water, or the picture was water in his eyes, it does not matter. Josif Brodski knows Narcissus, but he also knows the solvent: If the Spirit of God hovered over the waters, the water must have reflected Him. That is why I am drawn to water, to its undulations, movement, rippling and - since I am a northerner - to its greyness. I simply believe that water is a picture of time and before every New Year and in a somewhat pagan , manner, I try to be somewhere near water, if possible by the sea or ocean, to watch a new portion, a new cupful of time emerge from the deep. In the end, why in the new reality of the new age, should we not find a basis for a formulation or definition in expressive rather than technical terminology? Can we exchange pigments joined together by gum arabic and water soluble for the primacy of expression of impressions or effects? Spilled out, poured over, dissolved, re-melted, misty, cobwebby, ethereal, ' transparent, fresh, immediate, swaying, fluent or simply watery. Šuro Vancura |