The kind of interaction with an artistic work is to a great degree a personal matter. However when the sensations which the art work invoke stand for more viewers then something else happens which allows one to speak of a more general view. I have therefore decided to share with you my personal inner adventures that Marias work generates which could converge on others’ inner adventures.
While attempting to convert in words the first unprocessed feeling which the perception of Marias work induced, the notions that spontaneously sprang out of my mind were: logic, beauty, freedom, strength, harmony.
Later on, by looking into the matter, I have found out that the prevalent impression overshadowing all others was that of Harmony, and I wanted to discover the secret underlying that impression.
I had gradually arrived to the conclusion that there was an immanent necessity of the viewer’s mind to associate those notions of harmony and freedom with the whole range of experience within the social and natural history. I assume that the reason why this sense of harmony was common by all other viewers is that the artist managed to transform our common experiences and imprint them in an abstractly organized higher reality through those constructions of forms shapes and colors. Therefore the inescapable conclusion was the following:
Harmony is the condition ensuring beauty, which is nothing but the highest functionality within a structure. This functionality provides the structure, for example the human body, with freedom and strength inside a dynamic movement.
The codes in the universe of Maria allow her experience of the world–becoming transformed in art to meet with our own experience. Her “time-space” dancers (in her photography and paintings) are as much hyper-chronic as they are diachronic, because the claim of harmony made by this artistic work is as much diachronic as ephemeral. The dancers are human, but also forces of nature (or “divine beings”) and at the same time become the primary material of these wave equations constituting “solid” structures within which color and geometric counterpoints evolve; musical phrases moving freely and antithetically ending to a harmonious configured wholeness (gestalt).
The term harmony derives from the Greek ἁρμονία (harmonía), meaning: “joint, agreement, concord”, from the verb ἁρμόζω (harmozo), “to fit together, to join”. It implies therefore the discovery of the proportions, which allow something to stand and develop unfolding all its potentialities. We can speak of a musical and mathematical operation, which underlies the pleasurable perception of Beauty; it is recognition of ourselves in the mirror of art. It denotes health of every living system from a single organism to the organism of society and ecosystem.
Nowadays becomes important to trace those proportions, which allow us to resonate with the world–becoming and enable us to make a new architecture of history.
And this is the artist’s agony. She attempts to give us a thread so that we could come out of the labyrinth of our everyday life, a pure melody, a whole of consonances which has been prevailing in the historical time course as the “beautiful” or the “sacred” or the “good”. Thus she urges us to re-discover our potential to reach beauty, harmony and justice – and replace these values in a new perspective.