Update, November 14th: when I originally posted this article, I passed a comment about it perhaps benefiting from in introduction. A few days after I posted this article, Zafia IM’d me in Second Life to offer her thanks for the piece (thank you, Zafia! Feedback like that is always appreciated!), in which she indicated she would be adding such an introduction, which she has now done (thank you, Ryan for nudging me on this!). It adds further depth to what was already a superb exhibit, being personal in nature, and I was particularly delighted to learn how Wim Mertens and Michael Nyman influence Zafia with this experience, both (Nyman particularly – hence mentioning him in the article below) having been a part of my own exposure to minimal music. As a result of the new introduction, I’ve revised the last paragraph of this article.
Minimalism is a form of expression using pared-down design elements. It can be found in the arts, design, architecture and the use of space.
Within the arts, minimalism encompasses to 2D and 3D art, music and even performance arts. It began in post-World War II Western art, most strongly with American visual arts in the 1960s and early 1970s, where it was also known as “literalist art” and “abc art”. It can encompass works in both colour and monochrome.
Musically, the term “minimal music” was coined in the 1960s by Michael Nyman when describing a ten-minute piano composition by the Danish composer Henning Christiansen, although the first piece of minimalist music is generally regarded as the Monotone Symphony (1949), by Yves Klein. With architecture and space, minimalism is founded on the principle that “less is more” (Ludwig Mies van der Rohe) and focuses on the elegant use of lighting, the connection between two perfect planes and the space left by the removal of three-dimensional shapes.
I mention all of this as a means of introducing Zafia Vesta’s Minimalisms, her Sansar experience which brings together all of these elements in an immersive celebration of minimalism. The space itself utilises lighting and a contrast between light and dark to great effect, while incorporating the connection between planes of colour along the single, fully definable hallway in the space, which also offers a void in keeping with minimalism, with the gap in the “roof”.
Within this pace is a series of elemental sculptures and geometric shapes – the very definition of minimalism – some of which are animated through spinning (which itself could be said to be a minimalist form of animation). These are spotlighted across the display space, inviting exploration and study. Surrounding all of this is a piece of minimal music, The Grid by Philip Glass and taking from the visual tone poem, Koyaanisqatsi, to complete the experience.
Minimalisms is an imaginative, expressive means of exploring an art form from within. As such, I hope Zafia will continue to curate the experience and add features and capabilities to it as Sansar grows.