Meta-art is different from whatever art. It may be that you do not see this (already), but that is how it is. Every Meta-painting is a gathering of much, much more spiritual phenomena than you will ever find gathered in whatever other work of art, be it a painting, a novel, a play or a piece of music. Moreover all the spiritual phenomena gathered in a Meta-painting, do come together in a most paradoxical way. Everything in a Meta-painting meets its absolute counterpart, but is still never being annihilated, but instead contributing to the whole of the work in the strongest of ways possible. And so, being paradoxical inside out, every element being stretched to its ultimate limits in every direction possible, every Meta-painting is always a token of the serenest of harmonies. Being a whirlwind of highly contradictory tendencies, a Meta-painting always also rests in a grand calm. And also in this respect there is truly nothing like it.

But there is more.

We like to see the artist as being someone who is constantly searching for the most intriguing constellation of form, contents and idea, someone who is pushing from a cautious first appearance of things towards a grand finale in which things get together in the artistically-spiritually most meaningful way. And so we love to see the artist ‘struggle’ in series of works in which he or she finally finds the best that was hidden in the mountain of possibilities stretching out for him or her when he or she started ‘the project’. We want to see the process of artistic exploration spilled out on the canvas or cut into the marble.

Meta-artist Marianne Schuit never does what we want her to do. And so she never works in series. Every Meta-painting is already the grand finale of a creative process that is only taking place in her Meta-mind. A creative process, by the way, that takes a terrifyingly short amount of time. Meta-paintings present themselves in the Meta-mind of Marianne Schuit in an instant, dismantling the need for further exploration completely. A Meta-painting presents itself sound and clear to the Meta-mind of Marianne Schuit, is then bleakly put on paper, only to wait for the moment it will be executed on canvas. And so we only see the mountaintops of the creative process underlying Meta-art. Each Meta-painting is already the ultimate in what could be found in a certain direction. No need to go and look further for anything more complete. And so we get this surprisingly diverse collection of Meta-paintings in which we do not seem to find a line of ‘thought’ that can help us to understand what is going on. We only see a collection of strong personalities, all perfect in their very own right, but all still bearing the same Meta-flesh and blood: totally paradoxical, yet completely in harmony, excessively emotional within a cool-distant impersonal style, utterly vague in the clearest of ways.

The artist (not being a Meta-artist…) has to climb each individual mountain, no matter if this mountain is called cubism or whatever other ism. And we see this climbing reflected in the series of works that are needed to get to whatever mountaintops that are hiding in ‘the matter’. Picasso, Mondrian, Pollock, they all climbed their mountains and we can still follow them on their ways to these mountaintops.

Such a personal route is not to be found in Meta-art.

Because Meta-art is already at its top when it hits the canvas.

Still, if one is looking very carefully at the diverse collection of Meta-paintings that is already among us, one begins to become aware of certain tendencies that interconnect those strong personalities. Tendencies that indicate that these highly inaccessible personalities still share a common ground of awareness and purposefulness. There is an extremely subtle Meta-line connecting all members of the diverse collection of Meta-paintings. A line, no matter how subtle it is, that (paradoxically…) binds all Meta-paintings in an even stronger – more meaningful… - way than the separate works of whatever artist are bonded.

Which is all-decisive ‘stuff’.

But there is still more.

Because anyone who will really take a look into the collection of Meta-paintings existing today, will find that each one of them is really a completely different personality from all other Meta-personalities surrounding it. Each Meta-painting is carrying its very own atmosphere, not to be confused with any of the other atmospheres found in any of the other Meta-personalities. Yes, there are family-resemblances, but never will one find that two Meta-paintings bear the same atmosphere and thus could be exchanged for each other. In no way. Each Meta-painting is a full-grown member of the Meta-family, contributing something to this family that was not yet there. A most incredible achievement of the Meta-mind of Marianne Schuit.

Meta-art is rooted in art, but is also finding itself ‘on the other side of art’. In every respect.

The Meta-paintings of Marianne Schuit?Meta-paintings.html

Strong personalities

Why are Meta-paintings so different from each other?

Meta-art is the end of art - video
Joost J. Ligthart speaks with Mick van Schooneveld

     “...are you never afraid that Marianne’s Meta-paintings are somehow 
               overshadowed by what you say about them?”

          “... if there is truth to be told, even when it may seem like bragging,
                I will not hesitate to tell this truth.”