Paintings

Derived from the French term tache, meaning “stain” or “blot,” Tachisme (also referred to as Art Informel) designates a movement in postwar European abstract painting that emerged primarily in France during the 1940s and 1950s. Frequently regarded as the European counterpart to American Abstract Expressionism, Tachisme similarly privileges spontaneity, gestural mark-making, and the abandonment of formal compositional structures. However, stylistic distinctions remain: while Abstract Expressionism art often exhibits a forceful, monumental scale and a raw, performative quality, Tachisme tends toward a more introspective, intuitive, and lyrical mode of expression. Contemporary discourses in psychology and the philosophy of mind have increasingly emphasized the significance of non-conscious processes in shaping human behavior and creativity. It is now widely accepted that our perceptions, emotions, and decisions are not solely products of conscious deliberation but are also profoundly influenced by the subconscious. Building upon this, the Swiss psychiatrist Carl Gustav Jung introduced the concept of the collective unconscious, a theoretical construct denoting a substratum of the unconscious mind shared among all human beings. This collective unconscious comprises archetypes and symbolic motifs that recur across cultures and epochs, suggesting an inherited, universal dimension of psychic life. Within this framework, artistic creation may be understood not merely as an individual or cultural expression, but as a manifestation of this deeper, transpersonal reservoir of meaning. The visual arts, in particular, offer a privileged site through which these unconscious structures are rendered perceptible. Thus, Tachisme, in its gestural abstraction and resistance to rational form, can be seen as engaging directly with this unconscious domain, articulating a form of visual language that precedes or even transcends conscious cognition. These original contemporary abstract paintings are available to collectors and seekers alike, including those who wish to buy abstract art online or invest in large scale abstract art that carries emotional and philosophical weight. Equilibrium within the cosmos is not a static condition, but the product of an eternal cyclical process, one governed by the dynamic interplay of opposing forces. Central to the maintenance of this balance is what may be termed the Power of Love: an elusive, affirmative energy that functions as a sustaining principle within this ongoing negotiation of tension and resolution. Harmony, as the perceptible outcome of this equilibrium, constitutes the essential rhythm of existence, an ideal toward which human consciousness is instinctively oriented. THE BLACK - A Metaphysical Force Beyond Perception Zarathustra proclaimed: “Die Welt ist tief / und tiefer als der Tag gedacht.” "The world is deep - deeper than the day had thought." The Black signifies a metaphysical principle: obscure, ancient, and generative. It refers not merely to a color or absence of light, but to a profound conceptual space, one that embodies the invisible, the immaterial, and the pre-ontological. It is aligned with what cannot be directly apprehended or articulated, yet underlies all that exists. The Black functions as a symbolic nexus of origin and return, of mystery and potential. Within this framework, Black is understood not as void, but as plenitude: a space of unknowable density and significance. It evokes that which is beyond the empirical, what the philosopher might call the Real, or the sublime remainder of thought. It resists final definition, shifting with each epistemological advance. Where science once posited emptiness, it now uncovers structure; what was deemed void now teems with quantum activity, dark matter, and speculative presence. This suggests a paradox: the more we attempt to grasp the essence of nothingness, the more it recedes. The Black eludes closure. It is a conceptual horizon, both origin and limit, that provokes a reconsideration of what it means to perceive, to know, and to name. Perhaps what we name as nothing was never absence at all.