Kenneth Blom

METAMORPHOSIS OF VISION

Simplicity is not a goal in art, but simplicity is achieved involuntarily by entering into the true sense of things (Constantin Brancusi).
In a world that is rapidly transforming, the concept of metamorphosis represents an important issue in the idea of identity and the play of vision. In this latest series of works titled “Metamorphosis of Vision,” Kenneth Blom reflects on the concept of contemporary

identity and its relationship with the past, even if it is a recent past. He transforms this reflection into an abstract but not distorting mirror of society and, in particular, of certain types of structures that are part of our landscape but are often superficially registered by an inattentive eye.
The artist's aim is to find a common visual language that transcends geographical and cultural boundaries, enriching the dialogue between the past and the future of architecture. However, the inclusion of shadows or unidentified human figures confirms the artist's vision that, alongside architectural archetypes, there exists the presence of the Self—a sort of human archetype representing a universal model of behavior, thought, and feeling that resides in the collective unconscious, a mental structure shared by all humanity.
These archetypes embody the fundamental experiences of life and the narrative structures that span cultures, eras, and contexts. Structures that aspired to be but are not. Structures that aimed to contain but whose contents remain uncertain. In short, a world made up of an overwhelming and/or evanescent physical presence, which the artifice of painting transforms into a "metaphysical" image that transcends time—or rather, freezes it—where silence fills the entire auditory space.
His pictorial world constitutes an organism of colors—radiant blues, reds diluted with grays, and soft greens—through which brushstrokes arrange themselves like lines of flow for the observer. The space vibrates with emotions where the color not only does not erase them but transforms them into poetry. Even when the color bursts in—or rather “slides” into transparencies—it always conveys the sensation that this color is much more than the sensory perception of the world: it is a movement of ideas and/or intimacy.
This truth cannot, however, be separated from the conceptual context that each person seeks through the perception brought by the gaze of the artist and the viewer. This perception is mediated by the camera, which creates a unique segment of interpretation or divergence between the two.
In the proliferation of existential languages, the world around us becomes an illusion, laden with signals that always echo a nostalgia for the past—like a transition in which we are completely immersed in an apparently static reality that, instead, moves toward our consciousness.
As Mircea Eliade reminds us, the establishment of a sacred space—where a mythical scene is relived in the present, outside of time—is the archetypal response of humanity to its fear of history, becoming, and dissolution into multiplicity.

Massimo Scaringella


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