Syd Krochmalny, Resonance, oil on canvas, 30x40 inches, 2018
Syd Krochmalny, Magnificism, oil on canvas, 2018
Syd Krochmalny, Magism, oil on canvas, 30x40 inches, 2018
Syd Krochmalny, Tone & Sensation, oil on canvas, 30x40 inches, 2018
Syd Krochmalny, The World is Made of Strings, 30x40 inches, 2018
Syd Krochmalny,The Large Ear, oil on canvas, 30x40 inches, 2018
Syd Krochmalny, Physiological Basis for the Theory of Music, oil on canvas, 30x40 inches, 2018
If we make an epoché of art, that is, a suspension of judgment not only about a common belief, but also about reality itself; we discard all the themes and techniques to conclude that this is a matter of form and time. Classical art and the search for the eternal, Chinese art and its relationship with the past and tradition, modern art as a mirror of an era, the avant-garde and its longing for the future, and contemporary art and its ambition for the present.
Art is basically made of time. But here something different is attempted about what art was, what art will be or what art is. I am interested in the future past that can be imagined with an essential question: "What would have happened if...?". That is to say, what some reflect on could have happened if events occurred otherwise and to build, consequently, alternatives to our past? And nothing more appropriate to our question than attempting answers about those futures yearned for in the past that were never reached.
How works of art of those failed avant-gardes could have been; of those proclamations of new aesthetic adventures without followers, of those manifestos without works, of those orphan poems and books, of those whims of critics who never managed to be what they envisioned. Apart from the total avant-gardes- such as Cubism, Futurism, Dadaism, Constructivism or Surrealism- that developed a transdisciplinary aesthetic as painting, music and literature, many other artistic proposals that were also born from poetry and performance, were never painted or sculpted. I think of the aesthetic radicalization of the late nineteenth and early twentieth centuries in Paris, in dozens of attempts to build a vanguard: Scientism, Magism, Magnificism, Visionaryism, Impulsivism, Sincerism, Serenism, Bonism, Druidism, among many others. These failures constituted only a few linguistic materials that never discovered a plastic form and that no one remembers.
I think of the works that could have been and were not. The paintings and sculptures that could be in the world's museums and were not. From the reading of poems, manifestos and critical texts, I construct a series of counterfactual works that annul both the antecedent and the consequent, and therefore contain both a false cause and a false consequence, which for a moment, are shown as supposedly true. These works try to give an image and set in motion the artistic schools that have not been, as if it were to discover the existence of possible worlds spatially and temporally differentiated from ours: a parallel universe to the history of art.