How can art be realized? Out of volumes, motion, spaces bounded by the great space, the universe. Out of different masses, tight, heavy, middling—indicated by variations of size or color—directional line—vectors which represent speeds, velocities, accelerations, forces, etc. . . .—these directions making between them meaningful angles, and senses, together defining one big conclusion or many. Spaces, volumes, suggested by the smallest means in contrast to their mass, or even including them, juxtaposed, pierced by vectors, crossed by speeds. Nothing at all of this is fixed. Each element able to move, to stir, to oscillate, to come and go in its relationships with the other elements in its universe. It must not be just a fleeting moment but a physical bond between the varying events in life. Not extractions, But abstraction Abstractions that are like nothing in life except in their manner of reacting.
— Alexander Calder
Punctuated equilibrium is a hypothesis in evolutionary biology which proposes that most species will exhibit little net evolutionary change for most of their geological history, remaining in an extended state called stasis. When significant evolutionary change occurs, the hypothesis proposes that it is generally restricted to rare and rapid (on a geologic time scale) events of branching speciation called cladogenesis. Cladogenesis is the process by which a species splits into two distinct species, rather than one species gradually transforming into another.
The work “Punctuated Equilibrium” transfers this concept to an artistic method. Bringing the theory to art, it quickly evokes questions like: What is an stringent oeuvre? What has to be done? What’s possible under a certain artistic label? Can we avoid labels?
By continuing Alexander Calder’s set of works, does something new emerge? Or is it still his work?