‘Inside Looking Out’ by Franziska Goes @ Moskowitz Bayse

April 9, 2022

In a presentation of a clear extension at originality, Ms. Franziska Goes at Moskowitz Bayse Gallery demonstrates to us the concept of self-reliance in forming a transcendental object through her self-reflectance upon the Natural elements. It is in her amalgam of Natural form with a vexing balancing act of imbuing her compositions with technical elements, to give rise to an appropriate understanding of what the transcendental is.


And it is in the proper creation of the mind extended into the mind’s of others. Yet, what does it mean to be proper? It is to say the mechanism requires being merely beyond imitative of Nature, but to inform our universal impression of its goodness with what is beyond humanly conceivable. And it is through this inconceivability which Ms. Goes is delicate yet fastidiously manicured in her media.


No, there is no sharpness or strong impulse that surges in the subject’s mind as he or she is embracing media which is far removed from cacophony. And it is, again, in this tight walk between the Natural and the Technical which Ms. Goes succeeds in knitting. Perhaps its gentleness is its own unique experience of the harmonious traversal of Natural motion experienced through Ms. Goes life? In any case, she imbues her private sensations of natural beauty with original medleys which, while have an anchoring point in the solid forms of color she initializes, have no pretension for their completeness. She is, in other words, spontaneously organizing her intuition-the genuine quality of creative discipline or creativity-to reveal to us a necessarily more harmonious order in the world for our minds to experience.


I am particularly fond of [geological work]. Here, she is at her finest in exploring the natural setting and the idea of sedimentation. Browns are a non-trivial neutral tone to play with. They do not excite with the bold exactness of more primary colors. Yet, it is such an elemental color to the everyday world of our terrestrial Earth’s experience. To be inspired to play with the idea of soil, with its verticality swirling amidst more refined than vainglorious reds, consummately transcends our idea of the Earthly world, of the Planet’s abundance.


We do not have, in other words, an exhaustively fatigued critique of man’s spoiling his home base. Indeed, this is so far removed from the political it is rightfully the proper task of art – as Nietzsche remarked – which is to be grateful for being alive at all! Where, for instance, are the burnt oil derricks, the skulls and bones of toxic hazardous waste from Chernobyll, or rampant fuel-sticks of the arboreal Amazon?


The evaluation, then, of Ms. Goes, to extend her imagination toward breathing necessary purer forms of light with this piece – and the incomprehensible grasp of Natural order and its swirling – is towards the beautiful being able to be created by man. It is his or her ability to inform the world with new sensations of cosmic movement, which leads to positive memories of being alive. And how can we denounce the Natural World from being positive? Our addition to its sojourning, then, like Ms. Goes affirms, ought to be beautifully balanced, not dominant. This transcendental motivation is the pinnacle of the humane.


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