Illumination

June, 1967

Gallery L’Argentario, Trento

Introduction by Nobuya Age, a Japanese artists, art critic and a member of the Venice Biennale jury

It is something very strange to have a conscience. About thirty years ago, in Japan, I took part in a group. The group called itself “L’Illumination“. Illumination was a word that someone of our group took from the poetry of Rimbaud.

We used this word, which came to use from translation into Japanese and we knew that its meaning was in etymology similar to “light up“.

Light up and illumination, etymologically, have the same meaning: they are referring to the art of illumination of prose and poetry. Today, these words are equivalent to miniature. If we address this word to someone who does not know etymology, we will notice that underneath his undrstanding of this word is the possibility of making a mistake and the possiblity of making a small painting.

But, minium was the color vermilion used by medieval artists to mark initial letters of manuscripts in this way of marking and more especially from this discipline arises the rhythm of abstration of European Middle Ages. Later on in Italy, in the choral books of Renaissance, many human figures along with floral designs appeared and superimposed [sic] upon this traditional tradition [sic] of the Middle Ages.

My companions of “L’Illumination“ formed in Japan a current of avant-garde. In the group there coexisted two tendencies, the first one was influenced by surrealism, which explored deep levels of human physiology, and a second one, to which I belonged, was inpired by organic abstraction. At that time, when the war and nationalism were at work creating a very strong impression on young people, I was beginning to have an interest in “gestalt“.

I have been in Italy for six or seven years. I had and still have many young friends, talented artists. Some of them I have noticed are following the same path as I am and that fact is bringing me back to the freshness and to the youth of my L’Illumination times.

The idea of color and light has always existed; there is the significance of the abstract work whcih adorn the initial letters in Gothic manuscripts. Every letter of the alphabet, by itself, is abstract. It is necessary to give line, color and structure to its function. The miniature assumes this duty. It seems to me that abstract painters of today also have their own one initial letter; then comes the moment to illuminate their initials.

The miniature of the Renaissance repudiated the abstract structure thus brining forward naturalistic tendencies. In this way the miniatureof the Middle Ages lost its significance. It meant that the metamorphosis of colors was equivalent to the light of the human spirit. The artists of the Renaissance were using colors to explain one certain statement of objects and sentiments.

Many centuries were to pass before painters recovered the substance and the soul of color. From the impressionists (based upon positivistic philosophy) to Gauguin, who was inspired by “Ukiyoe“ stamps; from the Middle Ages through Impressionism and Gauguin color had one accessory role whcih is [an] exegete of nature.

Living in Italy, I once again became conscious of the word illumination: and this Italian group has been founded. For me, this is an enthusiastic thought to followi these young people. To be conscious is a strange thing. But the fact that the human being has a conscience, means that he is aware of the situation of his of time

.

Faint light. Brilliant light. Each of these artists works differently, but all of them are working on the same research, metamorphosis of color in abstract contemporary art. It is a common element and it is the base of their work.

Nobuya Abe

July 1967