SURFACE TREATMENT: Metaphysikos Ignites

"Metaphysikos Ignites" combines Kirk Clark’s “Metaphysikos” exhibit (shown at Incarnate Word University and the Loyola University John Felice Rome Center in Rome) with his new “Ignite” series. Seventy-three paintings are currently on view at IMAS. "Metaphysikos” paintings occupy half the large gallery space; “Ignite” works confront them from opposite walls.

While the "Metaphysikos” exhibit has received the visibility, it is the new “Ignite” paintings that give this exhibit its life. Clark has painted on Mylar to a breakthrough advantage. The chameleonic effect of the Mylar sets the paintings ablaze, their shimmering quality suggesting Mid-Eastern design dogmas. Yet Clark still maintains his visual identity through controlled shapes and dots that define every work.

Ignite (lX) challenges the boundaries of its designated space, as do other works in this series. A fractured force field reconfigures its fragments into finite progressions of infinite perception. Slightly arced strokes embellished by graduated dots read as dimensional forms. Clark has taken this technique far beyond earlier efforts. There is a newfound elegance of color relationships and image development that engages the viewer, spark by spark.

To clearly grasp the content of the works, it is necessary to understand Clark’s spiritual basis. This may not be easy. Clark is speaking spiritually via scientific theory. The harmonic resonance visualized as the Big Bang is his premise for this exhibition. “Ignite” closely relates to "Metaphysikos” in that it portrays sections of the universe being formed by God’s command. “In my work you will observe the incarnate images emerging out of the voice of God.” Explained Clark. “I imagine the voice of God molecularly forming the molecules of sound into photons and waves of light out of which images emerge.”

The concept of emergence becomes palpable. “Ignite” offers remarkable examples of the sensory and psychic exploration of color. Cymatics, the study of visible sound and vibration, as well as Synesthesia, which is the ability to see sound and hear color, have influenced Clark.

As Clark goes within himself in order to create works that are further outside of himself, an interesting paradigm is revealed.

The obsessive manner of the myriad of perfectly placed dots serves to project the artist’s energy into the image. It is emitted as the viewer walks by. Similarly, Aboriginal Australian art often uses obsessive dot repetitions to depict dreamtime. Interestingly, these makers are also depicting a spiritual reality.

Kirk Clark’s concept unification of the spiritual and scientific may provide him a unique position in 21st century religious/spiritual art. His artistic vision seems to be on a fast track approaching the clarity of his spiritual vision

Nancy Moyer, Professor Emerita of Art from UTPA, is an art critic for The Monitor. She may be reached at nmoyer@rgv.rr.com