In an attempt to express a philosophy, or part of one, in a painting it is crucial to study the philosophy in depth, following which one must the assorted humanly expressed emotions corresponding to the various parts of the said philosophy, and as a whole.
This will allow for the selection of the appropriate palette, forms and lines to be used in an easier, more comprehensive and quicker manner.
One way of artistically expressing a philosophy would be to create a large number of small sized works that correspond the various parts of the philosophy and a few large works that become synthetic results of the analysis of the parts.
Thus the viewer may selectively study the philosophy’s parts in the small works, or read into a concise analysis of the whole in the larger ones.
By giving the viewer multiple options of methodical observation study, the task of understanding a philosophy becomes easier and more interesting. This also may bring about repeated visits by the viewer, first to study the synopsis presented by the large works, and then to individually study the parts of the philosophy, i.e. the small works.
Care must be taken, though, to not cross the line that divides ‘this is what I think, so should you’ and ‘this is my understanding of things said before, take it or leave it’; something that can be achieved by proper distribution of small and large works when displayed, and by not immediately explaining the works to the viewer. By asking their opinion first, you allow them to think for themselves, following which you may air you side of the story, thus creating room for a conversation that will result in a better understanding for both painter and viewer.
By forcing the viewer into a single train of thought, he/she will not learn from the philosophy what they can, thus rendering the entire collection, exhibition and project a failure. The idea is to take one form of intellect and bringing it to a level understood by the majority.