Found alone, architectural forms can be experienced as cold, sharp, and angular. They can create boundaries and constraints to biomorphic forms, such as the female figure, which is curved, warm, and organic. Knop skillfully juxtaposes these forms in the same composition, adds light, and creates interesting changes and new forms. Warm becomes cold; and reciprocally, cold, warm. Architectural becomes biomorphic; and biomorphic, architectural.
Knop employs a formal aesthetic. Some of the compositions within, such as #56: Dripping Watch, are evidence of his appreciation of Salvador Dali and Surrealism. Others, such as #36: Prague, show his fascination with Art Deco. In #127: Dancing Maidens, we are reminded of Matisse. In each, however, a new interpretation is taken: the biomorphic becomes the architectural; the design, symmetry, and line are exemplified in black and white. Knop’s new language is perhaps most evident though in #121: Electric Turbine, #111: Bird, and #114: Symmetry: Fear of Imbalance. In these, the woman is totally transformed. One almost wonders where she has gone, and if she is more an art “medium” for the artist than a “conceptual theme.”
Hold this book gently. Caress it. Savor each image. If you are a woman you will never experience yourself the same way again.
-- Catherine Twomey Fosnot Educator
For those who may wish to purchase this book, Guenter still has a few copies available directly for $75.00. Email him now through his website to get your copy.