Example
RE
STEP, 2017 </br> 40×30 cm, tempera on canvas ABBATELLIS, 2017 </br> 24×30 cm, tempera on panel SKIRT, 2016 </br> 70×100 cm, tempera on panel INSTALATION, 2017 </br> 50×80 cm, tempera on panel JORGE, 2017 </br> 30×24 cm, tempera on panel SKIRT, 2017 </br> 30×24 cm, tempera on canvas COVER, 2017 </br> 30×24 cm, tempera on panel MG III, 2016 </br> 40×30 cm, tempera on panel MG, 2017 </br> 40×30 cm, tempera on canvas MG II, 2017 </br> 30×24 cm, tempera on canvas FOUNTAIN, 2017 </br> 30×24 cm, tempera on panel DESKTOP, 2016 </br> 30×40 cm, tempera on panel
Le Corbusier called a man a geometrical animal. Saenredam's church interiors, cleared of figuration according to the assumptions of Protestantism, compared with the interiors of Modernist gallery reveal their various, not only visual relations. It has been long since ambitions of modern abstraction to compensate religious needs was first noticed. While Early Modern religious art tending towards literature was based on narrative and persuasiveness, iconoclasm and constructivism resign from both of these qualities, aiming to rehabilitate what Renaissance left for the crafts: geometry and non-objectivity. Having noticed this, Gottfried Boehm points to a paradoxical relation between metaphysics and applied art: Modernist geometrical abstraction has always been disguised in temple facades and floors.