Roman Opalka’s piece 1956/infinity: Detail 3039180-3047372

Roman Opalka’s piece 1956/infinity: Detail 3039180-3047372, currently displayed in the Dallas Museum of Art effectively relates to the theme of the Silence and Time show in several ways. The exhibition is comprised of artwork of all media, reflecting the themes of temporality, existence and time as first seen in John Cages Silence and Time composition. Opalka demonstrates this concept by using a seemingly infinite technique in his painting. The first paint layer is a grey background that is then covered with a huge series of consecutive numbers. The white text color is almost identical to that of the primary layer, so it almost appears invisible. The numbers are incredibly small, and in some places overlapping, creating a wave like effect that can be seen if the viewer looks from farther away. This process generates a multi faceted painting both literally and figuratively. The initial picture seems simple but upon careful examination has a much deeper meaning. On each of his canvas’s the numbers begin where the last left off, alluding to the concept of infinity and time that passes on, never repeating and never ending. However, without precisely studying the numbers the idea would float above ones head much like time does when it goes unnoticed. Cages work points out noises that go unobserved, while Opalka similarly urges onlookers to become aware of time that passes by. Additionally the ongoing numbers can symbolize the ongoing world and space around it and the insignificance of many moments that can feel overrated and overwhelming. The single piece demands attention from viewers and may solitary induce silence by promoting introverted thought. While the technical process is not very intricate, the simple and tedious technique is as meaningful as art that may be more complex. Whether spectators experience feelings of time or silence, Opalka successfully suggests these sensations in his work.