The Dimensionist Manifesto (back page)
The fundamental change in our world view, the profound transmutation which results in the great formal revolution of the arts, resides in the absolute negation of materialism and of pure spiritualism. The result of this change is the advent of the synthetic idea in which spirit and matter constitute a single process.
In art, spirit is the source, while matter (form) is the expression.
The pedestrian's shuffling gait : letters = linear literature. Cars on the roads, fast trains : accelerated lines = literature in two dimensions.
Why do I practice superposition in painting? Because it has not been done so up until now.
The longitudinal contraction of pictorial space.
Polymaterial Compositions -- the contemporary joy in the creation of the world.
The winged man : Painting in Space
It is my greatest satisfaction to have ventilated Euclid's brain : Sculpture Ouverte
The fact that a new mode of expression exists in the plastic arts which differs from the traditional one, is in my opinion, sufficient proof to justify it. Life evolves unceasingly, obeying only its own mysterious fundamental law, according to which it renews itself perpetually.
I insist on the utmost importance of the particularly psychological preoccupations which have permitted poetry, on its part, to evolve towards the automatic poem.
After this last stage, poetic expression tends towards realizations in many dimensions.
I consider Surrealist objects to be poetic expressions in three dimensions. It seems evident to me, that this road leads to a New Reality and that it could not have anything to do with the confusions engendered by concrete and abstract art terms.
Western painting has symbolically conquered space (depth using perspective) since the Renaissance. Cubism has rejected this conquest. It has reoccupied the surface. Abstract art, by forever simplifying itself, has rigorously maintained this result of Cubism.
When the abstract painters see that there is nothing more to do within a two-dimensional surface, Painting must either die on Mondrian’s last square or accept the only living possibility, that is say, to grasp the third dimension : evolve in space. To really conquer three dimensional space.
A New Reality imposes itself outside of all known Realisms; neither perspectival, nor Euclidean nor chiaro-scuro (sic). New materials. Colours in the non-imitative sense. Electric light as rhythm. Rhythm as subject.
Architecture being dimensional, this new expression takes its place in it by bringing surfaces and voids alive. Only a polychrome and non-decorative architecture can become dynamic and plastic in conjunction with this contemporary art.
Painting? The plane is dead. Today objects wish to break through the canvas. Every day, then, painting pursues its attempt at liberation: this is how it declares itself true to its tradition.
Rotation, life form of Universes. A life form unknown to art. Use of movement in the plane for the creation of forms in space : Rotoreliefs.
In the universal void poetic creation invents the new dimensions of pleasure. I wish to invent, as a poem, a live animal of an unknown kingdom.
Mankind `biological unit and entity' the only basis left to us for an entirely new art (sic). Fusion of music and sculpture : cosmic art. Whether we want it or not, this revalorisation of mankind as a centre of creation will impose itself.
The deep meaning of Dimensionism: the Biological Revolution.