The finer sentiment which we propose to consider here is primarily of two kinds: the sentiment of the lofty or sublime and the sentiment of the beautiful. Being moved by either is agreeable, but in a very different way A view of a mountain, the snowy peaks of which rise above the clouds, a description of a raging storm or a description by Milton of the Kingdom of Hell cause pleasure, but it is mixed with awe; on the other hand, a view of flower-filled meadows, valleys with winding brooks and the herds upon them, the description of Elysium or Homer’s description of the belt of Venus cause an agreeable feeling which is gay and smiling. We must have a sense of the sublime to receive the first impression adequately, and a sense of the beautiful to enjoy the latter fully. Great oak trees and lovely spots in a sacred grove are sublime. Beds of flowers, low kedges and trees trimmed into shape are beautiful.
The night is sublime while the day is beautiful. Temperaments which have a sense for the sublime will be drawn toward elated sentiments regarding friendship, contempt for the world and toward eternity, by the quiet silence of a summer evening when the twinkling light of the stars breaks through the shadows of the night and a lovely moon is visible. The glowing day inspires busy effort and a sense of joy. The sublime moves, the beautiful charms. The expression of a person experiencing the full sense of the sublime is serious, at times rigid and amazed. On the other hand, the vivid sense of the beautiful reveals itself in the shining piety of the eyes, by smiling and even by noisy enjoyment. The sublime, in turn, is at times accompanied by some terror or melancholia, in some cases merely by quiet admiration and in still others by the beauty which is spread over a sublime place. The first I want to call the terrible sublime, the second the noble., and the third the magnificent. Deep loneliness is sublime, but in a terrifying way.
The sublime must always he large; the beautiful may be small. The sublime must be simple; the beautiful may be decorated and adorned. A very great height is sublime as well as a very great depth; but the latter is accompanied by the sense of terror, the former by admiration. Hence the one may be terrible sublime, the other noble. (…)
Immanuel Kant (1764) Observations on the feeling of the beautiful and sublime, Komgsbey, Prusia
Seascapes is a reflection on light, colour, matter, space and time.
We all keep an image of the sea. An image that accompanies us throughout life and that is a reference of serenity, peace and tranquillity. The sea catches our gaze, perhaps because of its changing nature. We never look at the same sea, just as we never bathe in the same river (Heraclitus), as its waters have changed and we too.
The technique, learned from seventeenth-century painting schools in Kyoto, consists of the gentle sedimentation of mineral pigment in layers, in such a way that the light is reflected in a different way at each moment generating different images of the sea, along the day, throughout the year.
Seascapes is a proposal, for a moment of intimacy, introspection and personal repair.
Seascapes es una propuesta, para un momento de intimidad, introspección y reparación personal.