Behind Kala & the Guardians lies a ‘Leap into the Void’

In this post, Behind Kala and the Guardians we revisit some themes as well as a little about conceptual photography as a genre. Kala and the Guardians is a Sawidji Collaboration exhibited at Sawidji Gallery in December 2022. The collection of work is a multi-disciplinary narrative that brings together installation, costume design, photography and painting into the narrative of our theme.

Themes Within Kala

In Kala and the Guardians, the guardian portraits represent the concept of time. The visual narrative illustrates, ‘Time’ as an entity, but one whose face cannot be seen. However, it is present everywhere through the transitions and symbolic elements within them. At the centre of our work is an invisible portrait of time as an entity, whilst encouraging the viewers’ point of relativity to each of the characters in the story.

The exhibition Kala and the Guardians, its narration and its themes are available online through this Exhibition Guide. The collaboration was exhibited in Sawidji Gallery in December 2022.

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One Word with Many Definitions

There have been two collaborations by Sawidji that explore conceptual portrait narratives in 2022. The first ‘Red Chair and the White Room’ and the second is ‘Kala & the Guardians. It prompted many discussions on the definition and identifiable parameters of conceptual photography, specifically in fine art. We use the word ‘concept’ across many different industries and specialties. It carries with it a different nuance. We use it in advertising, fashion or marketing but there are different parameters that define it within art. This discussion may seem obvious to many, however, it is an indication of how general and common practice can become the accepted norm. Practices that may differ greatly between cultures and different social segments.

Conceptual Photography.. a little about it

Conceptual photography comes from conceptual art, which first emerged in the 60s. When it first came about, conceptual art determined that the concept or idea behind the artwork is more important than technique or aesthetics. In photography, this communication of the concept is usually achieved by staging. Compositional elements are very deliberate and carry representational meanings that give clues or tell a story.

All in all, within conceptual photography, artists have a broad playing field to explore abstract concepts and represent them in visual forms. It is effective in portraying more subtle human emotions and internal states. Evoking feelings not usually touched by normal captures and snapshots. The weight of the conceptual photograph is that it carries with it layers of meaning. Provoking questions and discussions.

Behind Kala & the Guardians lies a Leap into the Void

One of the best and earliest examples of conceptual photograhy is ‘Leap into the Void’ by Yves Klein.

The Abstract and Conceptual

Conceptual Photography may be hard to categorise at times. However, Yves Kleins’ ‘Leap Into the Void‘ has elements that are still some of the most important in this genre today.

• Staging
• Communicates abstract ideas.
• Asks questions about the meaning behind it. A conversation about its hidden meanings.

A photograph part of a bigger message

‘Leap into the Void’ carries the weight of the complexities of a mind that was Yves Klein. One of the founding members of Nouveau Realisme. An art movement that sought new ways to perceive reality. This photograph is not simply a photomontage to depict something that seems daring or improbable. It was published in a newspaper, a newspaper the artist published himself only for that one release on Sunday, November 27th 1960.

In it, alongside this photograph titled ‘Leap into the Void’ Klein made the statement that theatre could no longer be synonymous with ‘representation and spectacle’. Because, his performance was done without actors, without an audience or a stage. It was to convey the idea that ‘theatre’, in particular, his theatre of the new reality was ‘Void’. The theatre of the future for Yves Klein is essentially an empty room. The dematerialisation of art was a big part of Yves Kleins’ works. ‘Leap into the Void’ was just one of his complex performances.

It is important to note that the photograph of Yves Klein jumping from a building onto an empty street was not a photo montage to show a dangerous acrobatic act. It carries with it meaning about leaping into a different reality to challenge our established perceptions. The image threads together a broader message that is threaded together like parts of a jigsaw puzzle.

A Lasting Impression

I was fortunate to have seen the retrospective on the works of Yves Klein at the Museum of Contemporary Art Australi over 20 years ago. Whether you are intrigued, sceptical or dismissive of his ideas, the full immersion, energy and passion of his imagination and intellect leaves an impression. It means that even over 60 years later, his work still provoke the mind and asks questions.

By contrast today, we are already very familiar with the presence of the ‘abstract’ and its interrelateable themes in our discourse of art and literature. One of the wonderful perks of living with art today. Perhaps I was inspired by our concept of ‘Time/Kala’ to revisit, go back in time and bring to attention the works of pioneering artists and thinkers like Yves Klein. Their history keep teaching us and their energy and creative boldness are ageless mentors.

Beyond the Conceptual Gimmick

In conclusion, a ‘concept’ in art is an idea, it germinates and grows. Asking questions, provoking our imagination and intellect to come out. It is far from a simple gimmick. It would be a shame if all we take away from the richness of our creativity is the ability to dress something up for the purpose of attention and profit. Conceptual art is like the Alice in Wonderland creadled in the bookshelf. Yes you can say it is just another genre, another paradigm. But this one leads down so many fun and surprising rabbitholes it would be a shame to miss the adventure.

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