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In order to paint in 2010 it is imperative that the communicative devices of the past be influential. To ignore history disenfranchises the future.
Narrative painting, metaphor, symbolism, when painting has escaped from the inevitability of such modus operandi one inhabits another problem. Why then congratulate ones self for the problems overcome!
‘The childish chasing after forgetfulness, the appeal of satisfaction are now devoid of echo. But the constant tension that keeps man face to face with the world, the ordered delirium that urges him to be receptive to everything, leave him another fever. In this universe the work of art is then the sole chance of keeping his consciousness and fixing its adventures. Creating is living doubly.’1
Image I object this paradox warrants the attention of the 21st century creator.
When confronted with an image many things can happen, we become the image, we dominate the image, we devour the image. The image becomes subject. However, in opposition to this, the object is impenetrable, domineering, blunt! The object is created by the same hand/tools as the image, it is both more complex and simple.
Often in music melody becomes sound, not because we see beyond melody. I’m referring to specific work by Chris Potter or John Coltrane. A melody’s sincerity becomes so profound that in order to continue to progress the artist must re-establish the fundamentals with which the melody/image is built.
Sound becomes object.
We enhance every possible audio/visual response. One only diminishes ones experience when sound/object become ill informed. There is certainly not a unilateral direction here. When an absurd artist retreats, a fight must ensue, between morals and functionality. This we…
ISSN 1799-8549 (Painettu/Printed)
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