Arie Galles | Spinoza

My approach to this drawing raised conceptual struggles regarding the representation of a philosopher and a philosophical concept in visual terms. The drawing evolved from a conversation with my colleague, Oleg Gelikman, Director of the Humanities Concentration at Soka University, about Spinoza’s enduring relevance in contemporary thinking about politics, democracy and religion. He asked if I could create a drawing that would contribute to an examination of this relevance, while also placing it in my experience of the relationship between Judaism, art, and thought. This conversation took place in a series of casual exchanges. At the time, my thoughts were primarily focused on completing works for an upcoming exhibition. Still, a rough idea lodged itself in my mind.

My knowledge of Spinoza and his philosophy was sketchy, mostly centered on what I considered his unconscionable excommunication by coreligionists in 17th century Holland. My mind’s eye saw an image of the “Double Shaddai,” made by the high priests of Israel. I chose to juxtapose the “Shaddai” with Spinoza’s signing his Latin signature. I carved a feather into a quill; I recruited Oleg to serve as a model for both pairs of hands. Thus began the journey to the drawing’s creation.

The drawing methodically directed me to conceptual and structural changes. Areas that were light became dark, the “Shma,” was overdrawn by the first Hebrew words of Bereshit/Genesis. The quill in Spinoza’s hand bent and straightened, eventually releasing a galaxy. The hands changed shades. Over the days, the “Galaxy” began to emit light. The drawing was finished.

Spinoza was and remains an original thinker and a Jew. That link between his thoughts and the Demiurge/Nature was never broken.