Multiplex art is free from the academic and ingrained constraints imposed by any doctrine. The artist must at any time be able to freely control the material and what he/she does with it. The act of creating things stems from the relation that is fed back from the input pulse from the psycho-acoustic or iconographic signal zone (self-regulation). Never again should partly phase-conditioned hallmarks, such as for example, the whirly brushstrokes of a Van Gogh, the “blue period” of a Picasso, the rectangular layouts of a Mondrian or – what is in more recent times a particularly crass example – the beer mat-like stacks of a sculptor, stifle creativity for the sake of market value.

Hence, also in multiplex art those categories such as watercolours, drawings, etc. are no longer coherent. One controls the other and vice versa. Everything should flow. Style has always resulted from exclusion. Limitation may possibly mean being allowed to be something but simply nothing more than being able to have an open means of expression.

Multiplex art can manifest itself as and when traditional art-forms can no longer mutate and are thus consigned to the archives.

Roland Kayn