Sounds of organ in the great silence. Auke Mulder

Could anyone catch elusive things? Is it possible to hear the sounds of silence?

And whether might we wander through the crannies of our subconscious for searching answers, who we are and why we are here?

Perhaps we should not look for the obviousness, and there is necessary to awaken your imagination and feel anything more profound and faraway, but at the same time it is so close and clear.

As the sounds of the organ, magic and powerful instrument that gives us a sense of upliftment and maintenance of vanity like mist in the mountains creates an illusion of our floating above the ground , and as the horizon bar after every our approach moves away again and so artworks of Auke Mulder takes us to the depth of our essence.

When the artist himself reveals his philosophy of art, the process of perceiving becomes more unique and filled.
The passion for the art of the Dutch painter Auke Mulder carries a lifetime, through science, philosophy and theology. The more interesting will hear from him the story about himself and own concept of his art.

And first of all, how have you come to your art? You have MA Theology, philosophy and history of Christian Art. Whether was this passion to art from young years or it was your deliberate choice that you had made later?

Language creates a world that perhaps did not exist before and music sounds the yet-unheard perceptible, but it is the art of painting in particular that transforms what is invisible and inaudible into vivid colours. This for me is like music in colour and form. This fascination stems from my youth. I lived near the sea in Friesland, a province in the north of Holland. And overlooking the sea, I would dream my own world, an unparalleled landscape, in which I could almost touch the horizon with my hand. The sharpness of view faded into abstract fields of colour at the sounds of the whispering surf. I experienced that colour as music, as organ music in particular. Since my childhood I have learned to play the organ and that passion has not faded. Harmonium, reed organ and harpsichord are instruments I like to play. Initially as an autodidact I painted whatever attracted me and in that way I developed my abstract perception of nature.

Only after many years of study at various art academies and research in theology, philosophy and art history I have developed into who I am now. About 25 years ago I made the definitive transition from scientific practice to professional artistic practice. That seems like a significant transition, but in practice the differences are not so pronounced and one complements the other. What I searched for during my studies was how reality comes into being and how this is affected by emotion. This is not fundamentally different from what I search for in art, in painting. I have discovered that this is my concept since my early childhood.

The specific combination of colors, forms and your expressive manner made your artworks with something of particular where everyone could find own emotional world. Could you describe the philosophy of your creativity in several words?

I am searching for the relationship between imagination and reality and for the origin of human longing. Everyone knows what it means to be longing and that it is never to be completely accomplished. Longing is not identical to desire, it is deeper, more existential. Desire has to do with ‘possessing, or owning’, but longing has to do with ‘being’ and to look for fulfilment. Fulfilment of humanity, of being-human in the world, and that will never be complete. Longing is something like farness. You are reaching for it, but it will never get closer, farness does not get near. Every step towards the horizon will make it move away. The mystery of farness will not be resolved and remains forever. Farness is in my experience that which is not here, neither there, unless it indicates direction for thinking. This can be forwards or backwards, horizon stretches in each direction.

Farness, like longing, may be approachable (sometimes it seems as if you can touch it), but it is not reachable. Longing also, in this vision, will never be fulfilled, but is more like a starting point (source or goal) for action, for giving meaning to and shaping of this point in time, the now. This, in broad lines is the philosophy behind my work. Monumental, to me, is the imagination of that what affects one, that what one longs for, what directs and inspires and what provides values that are not self-evident. This directing, inspiring impact is what I am concerned about, the imagination of a new world that gives hope and makes strong. Not formally or orthodox, but free and playful, in search of new forms and images, informally, because the monumentality lies in the power of imagination. This tends towards the abstract and the expressionist. In summary: my work revolves around the concepts of longing, farness.

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