Minimalism

I figure I should start writing again, before bright red polka-dotted mushrooms begin to take over my brain. But before I churn out a new post, allow me to refer you to a short essay I completed some time ago, which is basically a rambling about minimalism as an aesthetic theory, only with a little bit more structure than is usual of my musings (backstage at listography, which really works well for me because of its user-friendly interface and neat organization). I am, of course, proud of it, because in some ways I think it marks a small little stepping stone in the pond of my writing, with an "academic voice" (as my teacher puts it) which gives me just enough space to sound serious and have serious fun at the same time.
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The crux of minimalism is finding the right balance of visual elements that serves to attract and not distract. As such, it is often associated with a primitive color palette of monochrome or comprising colors with a minimal gradient range, sleek and blank surfaces and a contrast between two and three dimensions, or a general use of space. This gives a piece of minimalist work its characteristic visual quality of being bare and stripped to a skeletal necessity- a style that usually either evokes a sense of stark clarity in the viewer or is perceived by him or her to be elusive, sometimes incapable of meaning and conveying nothing but itself. At other times, the artist may create an acoustic space within the visuals. Upon stepping into this range one feels as in both a muted natural landscape with a subdued, almost pleasant musical quality, and in an infinite, formless space which amplifies all sound with increasing intensity.

As these visual elements still reach out to the observer, attempting to attune him or her to the core essence of the artwork, making minimalism synonymous with objectivity is not quite in the spirit of the concept as it devalues the interaction the artwork has with its audience. Taking off from here, the nature of minimalism is very much interdependent- it functions as a two-way relationship between the audience, the material and visual form of the artwork and the creative process behind its creation. Ultimately it establishes an intimacy between the audience and the artist himself, because the artwork is after all a manifestation of his artistic identity, and a medium through which both sides can connect.

Working with this framework, one would find that the expression of minimalism is diverse. Ornament need not function as its direct adversary- because an implicit understanding of the clockworks of excess is the key to the skillful handling of the reduction mechanism required in the practice of minimalism. In fact when both co-exist in a single piece of work it can be argued that the contrast works in favor minimalism, as the eye has a tendency to be drawn to absence in the midst of overwhelming presence. In any case both visual philosophies, though not necessarily opposite ends of the spectrum, have a potential to complement and enhance each other- because like many concepts that are perceived to share opposing polarities they are responses born out of each other, rendering them inherently intertwined. Minimalism deflates when its artist forgets to engage its counterpart.

Minimalism in fashion can be explored on two core tiers- namely individual garments, and their collective presentation as a body of work. In discrete garments minimalism usually takes shape in the form of a single, compelling focal point- whether the silhouette, tailoring, or a detail such as draping or a deliberate contrast in fabric. This focal point should be potent enough to permeate the overarching visual concept of the collection while at the same time retaining a sufficient degree of versatility to be explored and subsequently, evolve. In a collection, minimalism takes on a macro-scale, where it usually manifests in a strict homogeneity in color scheme, nature of fabric and sometimes silhouette. A good minimalist tale, like any other collection, should possess a clear chronology on the evolution of visual elements- while unlike any other collection the artist redirects majority of his aesthetic and conceptual awareness towards the focal point-in-question, such that it is the best representative of the artist’s mind, and the audience be able to track his stream of consciousness just by watching its development closely.

It is perhaps apt to end with a reflection on the value of minimalism. While many champions of minimalism have subscribed to its practice as their aesthetic compass aligns perfectly with its coordinates- there is a general acknowledgement of its status as an artistic challenge, because it calls for a highly selective refinement of visual elements and making room for a meeting space for both the heart and eye. Diverging from the field of visual arts, it may or may not be surprising to find out that the most passionate practitioners of minimalism are the very people around us- regardless of whether they apply it in their worldview, way of life or style. As the guinea pigs of a new age of excess, the naked and raw simplicity of minimalism would very well be perceived as the next most comforting alternative. u