Christian’s ideas here have some similarity to the theories of W.Kandinsky, and his principle of “interior necessity”. For the Russian painter, colour in general is a means of directly influencing the soul: colour is the keyboard, the eye is the hammer of the piano; the soul is a piano with many strings. The artist is the hand which, when it touches one key or another, makes the soul vibrate. The experiental attitude from which the creative journey begins, therefore, is the capacity to know that one is ready to listen the phenomenon.

The convinction of a communication of all aspects of reality at a spiritual level led Kandinsky to adopt a perceptive attitude capable of pinpointing an expressive nucleus common to all things, over and beyond the distinctions of phenomena. It is no longer the object in itself which attracts the perceptive attention of the painter, but its interior resonance, capable of entering directly into communication with the creative sensibility of the artist. Christian shows a similar sensibility, both because he uses the image of colour for the recognition of sound, and because, as we shall see, his representation of reality is always the product of an interior resonance which transfigures, offers meaning, fills what the words and the notes of his songs express with previously unknown connotations.

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