Ehud Grably's Atomic Analogy

I compare art to the discovery of the atom, which allows me to express my opinion on the evolution of art as we approach the year 2000. This year symbolises a new era of sophistication and progress in all areas, not merely a literal interpretation of 2000 years. 

The atom is recognised as the smallest particle in nature, forming the very basis of everything. It represents the beginning, the foundation from which there is no retreat, much like the journey of art. 

In artists like Cezanne, Matisse, and, of course, Picasso, we see this pursuit reflected. When we examine the paintings showcased in an art gallery from centuries past, we can observe the aspiration to reach fundamental forms and basic shapes. These geometric shapes are the building blocks through which an entire world is assembled. 

Returning to the atom, once researchers answered most questions surrounding it, two paths emerged. One path is constructive, the use of the atom for peaceful purposes, like providing energy and operating nuclear plants. The other path leads to destruction, where bombs are created. 

In the realm of art, we similarly encounter two opposing paths. Once art reaches its foundational element, the atom of creativity, the journey diverges. Those artists who embrace the negative path find themselves in a cul-de-sac, unable to advance. Their efforts to enhance what has already passed its prime are futile, much like the self-destructive path of bomb creation. 

Conversely, the other path is about the search for new, fundamental elements, an exploration filled with innovative ideas. [This journey aligns more closely with the ethos of a luxury lifestyle brand, celebrating bespoke artwork and the pursuit of fine art reproductions.] 

Ehud Grably (1961-1994) encapsulated this duality in art's journey.

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