La Bellesa de l'abisme

Paul Klee was not only a painter but also a musician. Music, itseems, was a basis for his sensibility in painting. We do not know what can bring painting and music together, an art of space, and an art of time. Trying to resolve this problem, we can consider that when a form is produced representing sornething, there appears, at the carne time, a way of meaning which leads us to interpret this form as a sign. But in this sense a formal sign shows us two faces: in as much as it represents something, figuratively, it is an icon, and in as rnuch as it is produced (or interpreted) for meaning it is a syrnbol. Space forrepresentation, time for syrnbolistic rneaning. We could say that aesthetic value, or beauty, is perfect instability, a continuous balance between these two faces of the sign: icon and symbol. This is what makes the sense of form infinite. And we live beauty passionately, as an abyss of meaning. In the presence of this dynarnic arrangement of a phenornenic world, perhaps by such a balance, or perfect instability, our reaction to artistic forrns may be the same as to nature, Klee's art has this characteristic: it conveys perception from one lirnit to another, it changes a symbolic world (culture) into an appearance or representation (icone nature), and in this way permits us to experience art really, as we do with life.