Following are few lines about my thoughts, feelings and actions, as a human being, man and artist.


"Science is the intellect of the world, art is its soul."

(Maxim Gorki)

Here, I refer to the second part of Gorki's quote because to me it is not quite clear how Gorki defined the term "intellect". Well, the term "soul" is not clearly defined either. But without making any claim to generalize I've put "soul" on a level with "mind". From this point of view, I find the statement appropriate.

As a teenager, I always felt a spiritual affinity toward surrealists, even ideologically and socio-politically, which I just realized, while reading (in spring 2014) about this topic in a lexicon about surrealism, it's origin and progress of this era. Even though I think it is extremely naive to believe that with art, whether fine or performing, you can change peoples frame of reference substantially, although urgently needed, I do hold a deep-seated aversion for bourgeois values. I constitute these as decadent and especially in the long run as destructive and thus necrophilic, as in Erich Fromm's use of language and in contrast of biophilic.

It is no surprise that some surrealists felt closeness to communists, nevertheless surrealism wasn’t a revolution in a political ideological meaning. That would be a dead end too, because communism is only the possessions-orientated counterpart to capitalism, accordingly... .................................................................! please scroll !
.......it follows the same values and is therefore not able to trigger significant changes, a fortiori not in the practice of centralistic intension which is more totalitarian equalising than appreciating the human being as an individual.

I understand surrealism as an attempt of a value-revolution, less in the meaning of a recirculation or reverse overthrow (revolutio), than rather an upheaval of a mental and spiritual maturing. This has not succeeded in my opinion, but it would be good for us. If I compare the development of one human being to that of humanity itself, I am sometimes not sure whether we still arrest in the consciousness of an infant - I, EVERYTHING, IMMEDIATELY - or whether we are stuck in puberty. However, we still urgently seem to be in need of care and orientation of an authority, otherwise I cannot explain to myself the superstition (faith preposterous to reason) to a god or in money or into other almighty's. Seneca is alleged to have said several centuries ago: "The human is a reason-gifted being". Favourably and to the point - I agree without limitation - however, I wished there would be more will to practice our talent. In my perception we are far away from a self-dependent conscious thinking, feeling and acting welfare.

As a result of working as a communication trainer and coach for almost two decades I gained important insight: Learning, by definition to change current behaviour into a better, mature one with fundamental values, seemingly costs pain which is sensed as almost intolerable, otherwise the fear of the new, and the unknown, dominates all and everything. And even then, when overcoming the fear, the direction of the new possible resolutions is open.

Lifelong learning merely means mostly knowledge increase. One can measure this and receives certificates, in a successful case this helps to raise the own goods value. Non measurable increase, are for example social- and personality-competence, which are valid a little to precisely nothing and a real intrinsic learning motivation I did not recognise nearly area-wide. Thus I came to the result that the majority of the people is learning-resistant because indignant - in any case, it does not lie in the fortune!

I devoted myself from (2004) onward completely and much faster than intended to with photography, which I first came into contact with at 9 years old. When I showed the photos to those of whom I made, the loving smiles made me realize my results were not convincing. Not to them, neither to me. I soon turned to macro photography, but initially they were close-ups rather than macro shots. In any case as an adolescent I was interested to find an unusual and perhaps unknown angle of everyday objects, respectively to expand my perception of reality to a few more perspectives.

Here, albeit remote, I also see an affinity - one of the important characteristics of Surrealism (= above reality) is the “distextualization” whereof to find new perceptions and experiences the idea was. Salvador Dali, Max Ernst, Hieronimus Bosch, René Magritte and many more certainly belong to the best known representatives among the painters. Photographically and picturesquely it was Man Ray and cinematically Luis Bunuel who attracted my attention; however, likewise the works of Joan Miro, latter rather used itself the absolute abstraction. It seems what they all have in common is their attention to the development of the creative process. In general surrealists ascribed great important to sensuous perception.

Sensuousness is a subject that fascinates me and especially how it's experienced. I am also a hedonist, but in epicurean and certainly not in cyrenaic sense. Orgiastic pleasure pursuit without any sanity leads into a never ending spiral, in which frustration and ecstasy replace each other in ever shrinking intervals, but into the anticipated ataraxia it does not result for sure. In other words, always more and better creates more disturbace and discomfort than peace of mind. By the way – that’s an essential aspect for me, to finally say goodbye to permanent growth.

I do not have the intention to start a revolution with my photoart. For me it is rather a form of communication I convey myself and make offerings with. It is in the nature of offers to be accepted or refused. Those who may accept my offers, with the bodylightpantings they cannot avoid taking a longer look at one or the other image. I call it activating deceleration.

The projections on the body, is sometimes used as a second skin, sometimes as clothing made of light, obstruct the usual sight. At the first encounter most people are automatically busy trying to get an idea of the body through the projection. If anything, a viewer will at most allows himself only at a second glance to regard the superficial picture, its colors and shapes and to feel it’s effect. But, I do not always use the alienation. Often I use the projections in a allegoric sense, sometimes it's just about aesthetics.

Indeed, there are parallels between the nude art photography and the physiological act. The final image symbolizes the orgasm, whereupon it's result finally leads to. But the orgasm is the end and it is not called the little death without reason. Much more interesting to me and similar to the surrealists, is the materialization, the emergence and the approach to it. Although I have pre-made projection templates and also an idea of how I want to use them, still quite often new impressions and experiences arise during a shooting and in dialogue with model and assistant in addition I get suggestions and stimulations, that I gladly like to implement. It is important to me to engage the situation with all my senses and allow them to take lead over my mind. Also, there is the experience of the unknown inside the known, likewise the known inside the unknown, the moment, which is predictable and the process of discovering and creating.

The final image cannot deliver my sensations of the photo shooting to the viewer. But this is not even necessary. The viewer can get his own not less interesting perceptions - feelings, moods and perhaps even stories. That would be the activating part for my idea of an activating deceleration.

I was once told that by giving each picture a name, I would constrict the viewer or at least it would lead him in a certain direction. Indeed for some time I thought about whether I should do it or not. The risk of interference, which I do not view as serious, I assume, otherwise how else can the pictures could be communicated verbally. The idea of simple numbering was an alternative thought, but that seemed too primitive to me. Occasionally it happens that I label some older pictures perceived in another mood quite different. So I came to the conclusion why it should not be possible for any person to override the name getting his own impressions?!

To all I wish a relaxed and diverting time in my gallery

Mark Kant