The true protagonist of order and chaos as they collide in an unstable equilibrium is the cycle of the perpetual return, which knows no beginning and has no end.
“We adore chaos because we love to produce order” was how the Dutch engraver Maurits Cornelis Escher summarised this paradigm, as, free from the strictures of the senses and external appearances, he imagines a circular pathway in which everyone is involved in a process of continuous change in search of a paradox that can trap an observer in a visual field of apparently intractable geometrical shapes.
The attic downstairs and the basement upstairs: Escher’s impossible structures rely on absolute respect for the laws of perspective but nonetheless end up distorting space and creating alternative worlds in which the imaginative and the rational coexist in a dimension of ambiguity.
The transformation of the tennis player Roger Federer, the central figure in the Tetha Platinum Edition of celebreMagazine, his signature style of elegance is the outcome of a process of evolution that began with outbursts of nerves that had very little elegance about them, might be seen as ordo ab chao. Federer himself has said that he discovered that the key to staying calm was confidence in his own game.
And confidence has all the makings of being as warm as the coming season, with its ability to melt the chill of thoughtful mental ramblings, even one that is more cheerful and with an eye to the future, perhaps. Self-confidence can make it possible to say something new, just as Fendi’s it bags, among the other icons whose story we are telling, have been able to do.
Losing oneself in the ups and downs of one’s thoughts and saying everything and the opposite of everything may translate into a sophisticated, biting analysis that opens up sacrilegious perspectives and reveal one single certainty – doubt – as in an ironic screenplay born out of Woody Allen’s bitter vein. Or else it might be transformed into a nightmare, into a fierce diatribe between a celebration of light and reason on the one hand and subjugation on the other, between caustic sarcasm and a monstrous distortion of the grotesque.
As in a film by Stanley Kubrick in which obsessions are pursued and glossy photography and labyrinthine shapes contrast with brutally violent – or rather ultra-violent – scenes, as the most controversial character in all his films would say while he listened to Beethoven.
A kind of simplicity makes shape in the luxury experience of our contemporary liquid society with a return to Arcadia that searches for a constant harmony with no evident contrasts, even though we know that by definition, the experience of material lives beneath the veil of the duality of Maya.
– Special Thanks to all of them who made this possible –
Article edited by Claudia Chiari
Editorial Director celebreMagazine World