Between Bild and Built
in: Alexi Worth, Michael Lüthy, Catherine Perret: James Hyde, Paris/Brussels 2005, S. 20-43.
Chapter 1: A Joyous Science
To borrow a term from Nietzsche we could say that, in the hands of James Hyde, art is transformed to a „gay“ or „joyous science“. In Nietzsche’s view, such a science is interested in the extraordinary, in possibility and abundance; conversely, it is disdainful of the earnestness of norms and the asceticism of analytic reduction. Hyde’s art is of precisely this kind. It is sensation in two senses of the word. The surprises of its ever-novel twists appeal to sensory perception, which it both stimulates and evades whenever perceptual sense has become habitual. Hyde’s art is also „joyous“ in the sense that its pronounced historical awareness precludes the possibility of regarding abstract art as an endgame in which the great tradition of western art is destined to culminate. For Hyde, abstraction is, if anything, a source of inexhaustible potential, one that fills him with the optimism that every discovered solution gives rise to at least two new possibilities.
|Chapter 1: A Joyous Science|
|Chapter 2: Painting as the Space Between|
|Chapter 3: Medium and Form|
|Chapter 4: Material or Immaterial?|
|Chapter 5: Modeling|
|Chapter 6: Working Space|
|James Hyde. Between Bild and Built as print version (PDF 2.490 KB)|