The connections between science and art are especially clear when artists refer to basic notions, the theory of existence and the structure of reality. At the beginning, there was no division between art, science and even religion. In the past artists were not interested in such contradistinctions – their aim was to observe and reveal the laws of nature, to discover the nature of all things. The harmony discovered in nature and in the world shaped by a man has its visual references both in live and still matter. It derives from a unity that was regarded in similar ways, although it still is a mystery not yet fully solved.
The basis of art’s existence, and especially of photography, is the search for a meaning in what surrounds us. All the most important notions, values, meanings are contained in it. Searching for new experiences fill the area between a rational cognition and an intuitional one. Individual experiences influence the shape of consciousness. And only then can innate capabilities may become the most important part of individual broodings. Thanks to these capabilities, encoded in our psychic, we try to discover the meaning of existence and use our research in order to solve all life problems, including artistic ones. The search for the sense of creation, for the ways of expressing one’s thoughts are another challenge of artistic activity.
The point is that what moves us should also be available to the ones who see, listen or read our works. The simplest constatation that the message contained in an artwork is an image of consciousness unfortunately doesn’t explain the basic question which we constantly ask ourselves – about the sense of artistic activity. I try to assume that innate capabilities of perception form a basis of an individual potential of each artist. Consciousness fits into the hidden rooks of our mind. It is thanks to consciousness that we recognize meanings and we try to create new ones.
I pay special attention to a way of perceiving phenomena, widely unappreciated, when intuitive perception becomes the most important part of cognition.
Artists often defy standard patterns, they doubt naïve behavioural codes, schematically imposed. To assume a position of a researcher of the surrounding world causes many actions of the daily existence to become more profound, to discover and recognise its multiple aspects. Visual perception is limited – we cannot see many seemingly normal situations which we are supposed to find easily. If we are truly to talk about the values crisis today then it results from not seeing the eternal direction of human pursuits. All sensations cause new stages of consciousness. The artist is confronted with the necessity to verbalize what is impossible to verbalize, in a close correlation with direct impact on senses. A question arises for every responsible artist who realises how futile his attempts are: In what part may these attempts be useful?
Artists (like for example Mateusz Smoczyński) who try to capture fleeting phenomena and sensations, escaping schemes, have been placed on the margin of contemporaneity. It is a dream to reach a moment in time when art would exert a profound impact on human life in order to transform the contemporary concept of life and our attitude towards the surrounding reality through the mutual relationship of the laws of nature and the rational achievements of human beings. No matter how important the impact of modern science on general patterns of spending free time is, it is difficult to accept a future where art would be realised solely with digital means.
Of course, it is possible to imagine people cornered by a virtual reality equipment. However, it is because of an excess of entertainment divulged on the internet that there will rise a need to have direct contact with an object, with scents, sounds, forms and with the texture of the surrounding.
The meeting point with art may be a factory, a storage place, a basement, or even a refuse dump. It is necessary to create the right atmosphere, designate an intimate space enabling the transmition of signals inherent in it. An intimate contact with a found sphere of forms, objects and events allows to react to them subconsciously. An emotional contact thus incurred arises sensations and a personal participation in such a meeting tilts us towards optimism. Nonetheless, I’m still searching for answers to questions such as: How will I incur this creative contact? Can art still engage and disquiet the viewer, stir his imagination and prompt discussions, animate his thinking and concluding processes? How to judge properly and present a problem so that it is convincing?
Discovering anew the core of the thinking process brings about humbleness towards art. Discerning other ways of seeing, apart from the known ones, may facilitate discovering things and phenomena anew which we automatically banished from our thoughts or memory when we couldn’t or didn’t want to see and comprehend them. Art and science achievements fit in the same category of research, they touch on very similar subjects. It is only the language which is different. Photography and video may be a point of reference as means that enable a clear reproduction of the seen, in confrontation to other forms of registration.