The general in spite of the particular was how the mathematician and theosopher Dr MHJ Schoenmaekers (1875-1944) defended the concept of the group De Stijl. The necessity at the beginning of the 20th century to emphasize The general, was characterized by no longer relevant figure principles of traditional use of forms. The general is defined as a matter by the group De Stijl to develop a new form of formal language, which was based on the variation of the few basic principle of artistic creation (De Nieuwe Beelding).
Not to be confined by the greatest, yet to be contained within the smallest …
After 100 years of De Stijl, in the age of the total relativism it is unconvincing to let The general triumph over The particular. Not to be confined by the greatest, yet to be contained within the smallest is a definition, which declared the enterprise of the artists group Rhythm Section. The substantive trait, which linked the artists of the group Rhythm Section in their works is the commitment to a hyper reflexivity in dealing with the rhythm, not as a compulsion, but as an original constant. The clear handling of the rhythm allows an endless variety of individual variations.
The striking link between De Stijl and Rhythm Section I see in the original handling of their understanding and construction of visual rhythm. If De Stijl laid the general foundation for the form of the rhythm in fine arts, then Rhythm Section relates this form to the smallest.
The core of the true painting lies not in the image but in the origin of painting.
The search for the true painting is that which I absorbed from the study of Piet Mondrian and De Stijl. The core of the true painting lies not in the image but in the origin of painting. A 100 years ago a central issue of Mondrian’s painting was to accomplish the emancipation of the rhythm and this is a central issue of my painting today. For Piet Mondrian the origin of painting was lying 100 years ago in the design of the surface, similarly for me the origin, truth and purpose of painting today lies in the application of colors on surfaces. 100 years ago for Piet Mondrian the rhythm in painting was a design element of the surface, today the rhythm in painting is for me a design element of the movement.
The purest rhythm must be the purest expression of life … all expressions of rhythm are true, says Piet Mondrian.
Oleksiy Koval, Munich, May 2016
Thanks for help realizing this text to Prof. Bernhard Lypp, Veronika Wenger and Michael Wright