David DiPasqualeArtist
Brooklyn, New York, United States
My paintings deal with the spiritual, otherworldly qualities of light in a landscape of the ideal. I explore these ideas using a rich palette and I am equally concerned with the presentation of a uniquely textured surface.
In my works I create delicate, glowing passages that illuminate the paintings from within. I intend these works to be considered as worlds isolated in space and time, each creating a mood conducive to contemplation. My paintings exist on the cusp of what is seen and what is felt. Densely worked, they afford the viewer an air of mystery in their relative ambiguity. Inherent in the works is the ideals of the immense, the intimate, the immanent and the eternal. In turn, a sense of the sacred is present in my paintings, the illumination drawing the viewer into the work.
In my works I am actualizing the ideal of the sacred in the finished art object. In addition to providing a subtle yet dynamic visual experience, my paintings offer the viewer an opportunity for contemplative experience as well. As one sees into the work, it becomes a silent vessel of introspection. The surface of the painting exists on the threshold of the corporeal and spiritual thus allowing the viewer to contemplate the landscape while simultaneously exploring the inner vista.
In my works I create delicate, glowing passages that illuminate the paintings from within. I intend these works to be considered as worlds isolated in space and time, each creating a mood conducive to contemplation. My paintings exist on the cusp of what is seen and what is felt. Densely worked, they afford the viewer an air of mystery in their relative ambiguity. Inherent in the works is the ideals of the immense, the intimate, the immanent and the eternal. In turn, a sense of the sacred is present in my paintings, the illumination drawing the viewer into the work.
In my works I am actualizing the ideal of the sacred in the finished art object. In addition to providing a subtle yet dynamic visual experience, my paintings offer the viewer an opportunity for contemplative experience as well. As one sees into the work, it becomes a silent vessel of introspection. The surface of the painting exists on the threshold of the corporeal and spiritual thus allowing the viewer to contemplate the landscape while simultaneously exploring the inner vista.
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Octave Cycle
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The Octave Cycle is a group of paintings based on the concept of the celestial octave or the “music of the spheres;” the harmonious relationship between ascending and descending spheres of creation.
The idea of the celestial octave was introduced to western thought through the Ancient Greek philosopher and mathematician Pythagoras (580-500BC), who was said to inherit this concept from the Ancient Egyptians.
In the Middle Ages, the ancient knowledge of the octave finds its way into the solfeggio notes of the musical scale by Benedictine Monk Paulus Diaconus (720-799), where each note signifies a sphere in the celestial octave:
DO - The Absolute, DOminus,
SI - The Starry Sky, All Galaxies, SIderus Orbis,
LA - Our Galaxy, The Milky Way, LActeus Orbis,
SOL - Our Sun, SOL,
FA - The Planetary World, FAtum,
MI - The Earth, under the mixed rule of Good and Evil, MIxtus Orbis,
RE - The Moon, The Ruler of Human Fate, REgina Astris.
During the Renaissance, artists Leonardo Da Vinci (1452-1519), Matthias Grunewald (1455-1528), and Sandro Botticelli (1445-1510) all further explored the concept of the octave. Using representations of mythological figures, Botticelli is believed to have symbolized the spheres of the celestial octave in his masterpiece Primavera.
A modern-day understanding of the octave is that all natural processes unfold according to the ascending scale of the octave, with certain outside influences required to bridge the gaps between MI-FA and SI-DO; the intervals lacking semi-tones.
The Octave Cycle is comprised of seven paintings: Dominus, Siderus Orbis, Lacteus Orbis, Sol, Fatum, Mixtus Orbis, and Regina Astris. Individually, each painting in The Octave Cycle explores a different level of the octave, conceptualizing each level or note as an ethereal world; an exalted state symbolized by a landscape of the ideal.
Additionally, complimentary gestural brushstrokes signify the outside influences and their reverberations between Mixtus Orbis and Fatum and Siderus Orbis and Dominus, respectively. These gestural passages can be seen in the upper-right quadrants of these paintings.
Seen in the context of an exhibition, The Octave Cycle is to be considered as a complete circle viewed clockwise. Beginning and culminating at Dominus, which is presented centrally, this effectively creates a harmonious “music of the spheres,” a contemporary visual octave.
Regina Astris
Date : 2008
Medium : Painting, (Acrylic on Canvas)
Dimensions : 40 x 44
Availability : Yes
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