In Fünf Variattiohnen, meine Wenigkeit, den Affrika=Reisenden, Skt. Adolf II., Wölfli 1922

Adolf Wölfli made In Fünf Variattiohnen, meine Wenigkeit, den Affrika=Reisenden, Skt. Adolf II. with colored pencil, and it’s like a psychedelic mandala, a wild, personal universe mapped out on paper. The textures are incredible. Wölfli uses these really tight, controlled marks, hatching and cross-hatching to build up forms, layer upon layer, creating this dense, almost vibrating surface. Look at the way he renders the musical notes, carefully placed, like tiny building blocks in his world. It's not just about representation; it’s about the act of making, the obsessive, repetitive gesture. The color palette is so distinctive too. These muted yellows, purples, and greens, they create a strange harmony, a kind of visual music. It's as if he’s using color not to describe, but to construct an emotional atmosphere. Wölfli reminds me a bit of Hilma af Klint, another visionary artist who created these intricate, otherworldly images. Both artists show us that art can be a way of exploring the edges of consciousness, pushing the boundaries of what we think is possible. It's a reminder that art isn't about answers; it’s about questions, about the endless possibilities of seeing and feeling.