Abstract

Synesthesia is not only highly instrumental but primary in our figurative thought and expression. The overlapping of sensory modalities can be used to elucidate complex layers of perception through a universal type of metaphor. In regards to abstract expressionism, a visual strategy that is vague and vat, referring to alternative modes of perception to comprehend painting proves extremely useful when exercised with discretion. The research I have conducted includes psychological experiments, studies on color, gravity, physics, acoustics, architecture and art criticism. By analyzing gravity, volume, pitch weight and saturation in music, I have identified them in abstract expressionist Mark Rothko's art. Although these components are mutable in Rothko's career, they are consistently present.

Highlights

  • Mark Rothko once proclaimed " I became a painter because I wanted to raise painting to the level of poignancy of music and poetry."1 This tragedy which Rothko hoped to communicate through visual art is often experienced while listening to music

  • After assessing the elements of gravity, volume, pitch and tone i n the domain of visual art, it is evident that it is conductive to understanding particular aspects of abstract expressionist works

  • Most individuals will never experience a crossing of modalities as severe as a diagnosed synesthete, it is inevitable that we rely on multiple forms of perception to comprehend visual stimuli

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Summary

ANN SARNO

" I became a painter because I wanted to raise painting to the level of poignancy of music and poetry.

INTRODUCTION
LIGHTNESS A N D PITCH
ENEGRY A N D EMOTION
THE HOUSTON CHAPEL
CONCLUSION
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