According to Kandinsky, forms are created out of 'inner necessity' (Rubrberg 2005, p. 102), and between a circle, square and a triangle, 'lie an infinite number of forms upon which an artist can draw' (Malorny 2007, p. 65). Therefore, the possibility of creating new forms is immense. However, does spirituality relate to geometrical forms only? If we consider human body as a form, could we fix it in the realm of spirituality? Perhaps yes. Roger Lipsey calls the fresco of Archangel Michael in the church of Mary in Southern Sudan spiritual. Commenting on the fresco Lipsey notes that the serene look on the face of angle, eyes, clothes, and severity are spiritual in art (Lipsey 1988, p. 16).
This work (Retrospect) tries to understand the phenomenon of spirituality in the form of human body. It peeps into the moments of past, reflects on them and contemplates on the inner spirit to find out its nature. Retrospect looks back in to past and tries to visualize future. The work gives hope that a mysterious world, free of illusions lies ahead and invites a viewer to see, understand, and respond to the call of spirit. It is only by seeing deep into the spirit that a person can understand the nature of self, because '[s]eeing is an achievement,' and it helps to make sense of the world we live in (Eisner 2002, p. 12). If the onlooker is able to comprehend the mysterious shapes, writings and marks, the spiritual drama of nature will start to unfold.
Eisner, E. (2002). The Arts and the Creation of Mind. New Haven: Yale University Press.
Lipsey, R. (1988). The Spiritual in Twentieth-Century Art. USA: Dover.
Malorny. U. (2007). Kandinsky. USA: Tachen.
Ruhrberg. K. (2005). Art of the 20th Century (Volume 1). USA: Taschen.