Nikolai Kasak (1917–1994) . An artist of Belarusian descent, Kasak
began his formal training in the 1930’s in Warsaw, continuing on to Vienna, then
Rome. He was originally trained in the academic style of late nineteenth century
Realism, until the artist encountered abstract art for the first time in 1945. The
artists of De Stijl, Russian Constructivism, and Suprematism had vast influence on
Kasak, prompting him to shift his focus from a primarily figure-based aesthetic
to pure abstraction. Concentration of form, formulaic compositions, and solid
color shapes became the significant structural element in his painting. Upon
immigrating to the United States post- World War II, Kasak had the opportunity to
exchange creative ideas with other Eastern- European and Russian émigré circles,
formulating and fine-tuning his artistic ideology.
Kasak also became involved with the Madi movement of Argentina
through Gyula Kosice. It was Piero Dorazio who first sent an image of Kasak’s
work to be included in the Madi Magazine. Kosice formally invited Kasak in a
letter dated January 25, 1950, to be part of the Madi Movement. After acceptance
by Kasak , he showed his work in multiples occasion as part of the Madi Group,
worth to mention International Madi Art, Galeria Bonino Buenos Aires, 1957,
International Madi, Galerie Denise Rene , Paris 1960 and 15 years of Madi Art,
Modern Art Museum of Buenos Aires in 1961.
The entirety of Kasak’s approach is based on both rational and nonrational
polarities, which supply a tension between the physical aspects (i.e.
isolated color forms and geometric structures) and the conceptual implications of
his work. In the Kasak’s own words, “the work of art is an independent and active
reality in itself, that is a fully invented physical organism, and not a description,
imitation, or deformation of anything.” (1)
Clearly Kasak’s constructions anticipated a worldwide movement of art
liberation from the traditional definition of painting sculpture, an affirmative
realization of Kasak’s advocacy of 1947. About fifteen years later in art shows
everywhere we have seen a great number of three- dimensional objects under a
large variety of labels, such us “Primary, Minimal, Open Form Sculptures,” “Art in
Process”, “Op Art”, (in three dimension), “Shaped Canvases”, ”Kinetic Art”, and
others.
The fundamental characteristics of these works make us think that they, in
their greater part, are derived, inspired, or deeply related to the works and basic
theoretical principles of Physical Art formulated by Nikolai Kasak in 1947.
From the book The Art of Nikolai Kasak
My Father - Nikolai Kasak
Though he was not a scientist, my father had and intellectual curiosity about nature, the universe and modern technology. He had an endless fascination and understanding of man's place among them. Though he was not theologian or philosopher, he knew his God and delved into Eastern philosophies, pondered the cosmos and liked to watch Star Trek.
My father's work ranges from traditional/classical style, representing a young man following a path taken by others, to a unique and theoretically validated form, that he found as his life and work developed and as he venture from the original trial.
Though complex as an artist and as an intellectual, he was quite utilitarian and. not very demanding of everyday life. He easily saw through and often lambasted or consumer culture. His art sought to reflect the purity and perfection of the universe, sometimes as an ordered chaos and other times with crystalline symmetry, versus immortalizing a soup can.
As father and husband, he tried to instill in us an appreciation of there purity superior, despite the society superficial. He view higher education as the cornerstone for such enlightenment(though not necessarily the source) and relentlessly promoted and supported the pursuit. I looked forward to visits home from college when we would discuss such topics as Newton's Laws, electricity and magnetism, quantum physics and calculus. Perhaps the greatest component of being a teacher is being a student.
As I grow older and mature, the issues and conflicts of daily life, as part of a true artist's family, fall from the tree and blow away (albeit some are quite tenacious). The unmovable trunk and branches remain, of a man who devoted his life, not to create perfection, but just to touch upon it and represent it in his life and work.
Alexander Kasak