Green Silence: A Visual Therapy
Silence allows only silent people to walk through it.
When someone tells us about “green silence” we know exactly what they mean. We feel it. Canducci’s most famous verse “the green silence of the fields” comes to mind. Astutely, the poet moved the epithet to express the vast presence of the field, the greenness and the silence. His aesthetic creation works so well because it evokes a specific kind of silence which, regardless of whether we have heard it or not, is the deeply felt sound of nature. So, when Daniel Kovalovszky, photographer, asks us to listen to the “green silence” of his photographs, we do so without hesitating.
In Green Silence, the silence is that of the forest. “The woods do not care for the loud, suffocating city life where we people are trying to live or rather trying to survive.” Kovalovszky points out. “The trees are doing their own things that have been gently hardcoded inside them by a superior energy. The trees exist in an almost imperceptible perpetual motion as they are changing and breathing.” In Herman Hesse’s always poignant words, those “things that the trees do” are “in compliance with their own law, which resides in them, developing their own form, representing themselves”.
Kovalovszky’s work is a good example of how a visual means can invite other senses to partake in the experience through a title and an image. When we see his trees we listen to the absence of noise among them. “The simple fact that there is a word for silence is an aesthetic creation,” Borges said. Aesthetic creation requires allusion since, to feel silence based on an instruction, first we must “hear it” and then suppress it. That is how Green Silence works, photography in its therapeutic extension where there was one.
It is a specific silence with a great power inside it and in this silence man is able to feel something from the greatness and peacefulness of what the dimensions of the ever-expanding life means. In the woods – without people – everything is perfect. In the woods, nothing can be false or wrong. The dried branches, fallen leaves, the thunderstruck tree trunks are what they are supposed to be. This is the foundation, the base, the substructure, the one hundred percent that set the mark to go by. There is nothing that is unnecessary, nothing is missing; everything is in place the way everything is supposed to be. There is order and silence over here.
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