Nocturnal flowers for Rembrandt by Kloska (1977) Acrylic

from the series Kafkian eternity with flowers at 7 pm, Nocturnal flowers for Rembrandt signed 17.01.2024

acrylic painting on canvas stretched over wooden chassis / varnished / framed with case frame antique rust gold and black
painting size: 60 x 80 x 2 cm / framed size : 66 x 88 cm

Rembrandt was the first great artist that shook my axes of reference. It shook me so much that I almost didn't paint at all for a while. I was downright angry with him. How could a painter reproduce the essence of things so well with so little light in the works? I had a hard time recovering, I doubted my talent, I felt small and powerless, but something inside me ignited a spark and gave me the strength to continue working. For years I studied his chiaroscuro, his brushwork, the organization of the pictorial space, I painted at the limit of darkness, at the limit of light. For many years, that little germ nestled in my daemon and managed to bloom today into some nocturnal flowers, with the Bach like music resonance for a great artist. Now, in the vicinity of the painting, I feel how the light becomes energy, how it moves in this short present, in which the dust of that past era settles loosely everywhere: on my hands, on my eyelids, on my brushes. I hear an old and shiny piano composing a new Bach nocturne.

This series of artworks refers to the metaphysical approach to space populated by a pot with flowers, a near seen like a section of a personal
temporal eternity, where the vegetative elements are transfigured into the metaphysical, transcendent .Thus, at the limit figuration, the immanents of the light becames oniric reflections and transparents, the flower shape became sphere, within which persist the traces of the pass, of the wear, the cyclicity. The series title, although apparently suggestive, is not refering to the absurdity and anguish prosaic present in Kafka's universe, but rather its starts from the idea of freezing of the personal physical time, by a simple meditative exercise of pure contemplation of the close realities transformed by the passing of time.
For me, as an artist, the still life is a perfect excuse to create a vibrant game between the idea of the volatility and the perennial of the world
that we perceive around us, and the essence of the human spirit: the conscience.
My "flowers" are subtle expressions of a meta-reality, where the viewer is invited to meditation, to exercise his spirit, to discover that energy, that forsure we all have it inside us, that resonates with the silence of the begining of begining.

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