Artist Statements

Art Amiba post - does art speak louder than words?

I am of two minds when I think about artists statements... primarily I think crafting an artist statement is a good exercise for undergraduates and emerging (gag, I hate that word, but for lack of a better one...) artists IF it helps them focus their passion into good art. And by good art I mean art that communicates something to anyone who invests the time to really look at - or listen to - it.  (Great art, in my opinion, is art that captures the viewer, art that insists the viewer invest the time...)

I believe that an artist statement should be about the artist, not the work. The work, when executed well, doesn't need an explanation. And in fact, I think the explanation usually gets in the way of the audience's experience with the art.

I think people worry too much about getting "THE" message of a work. When I talk to my students I tell them that every piece of art has a message for them and that their responsibility, as the viewer, is to discover that story. It will be an individualized story, the work tells a different story to each viewer, each viewer creates their own story. It may be the story that the artist intended to tell, but probably not. And that's the way it should be.  

I do think an exhibit should include an artist statement. But it should be tucked away in a unobtrusive, out-of-the-way place, available but not front and center, a way for the curious audience to get a glimpse of the artist's persona (note - persona, not person - very few people - artists or not - are secure enough, honest enough, or even self-aware enough to offer up a one page window into who they really are).

An artist or curator, who puts the words before the art is simply egotizing.

Transcendence

The opening sentence of my artist statement states: I am an interdisciplinary artist examining the transcendent in the light of the connection between the ancient and the contemporary.

***************************

So, how does one examine the space between the ancient and the contemporary in the light of the transcendent?

Transcendent, fancy word, complicated idea... The Oxford English Dictionary defines it as going beyond the limits of “normal or physical human experience.” I’m still working on my definition – some days I think I’m almost there, other days, well…

Why is it that people try to isolate the transcendent from the ordinary? It seems to me that they are two parts of a whole. Doesn’t separating them destroy both of them? Render them weak and unremarkable?

I think that life is, by its very nature, transcendent. I think it happens aljavascript:void(0)
Publish Postl around us but we often don’t realize it in our fragmented existences. To be present in your own life is to connect with the self – the I AM. From that place, from that self-awareness, comes the ability to recognize the transcendent. I don’t mean self-centeredness; I am referring to self-knowledge. When we do not know ourselves we become ineffective, insecure and fearful, easily swayed, easily manipulated. Because we do not know what we are truly capable of, all tasks seem impossible, all obstacles, insurmountable and our awareness is trapped in the normal, everyday physical life. I think most of us get glimpses of transcendence now and then, usually when we least expect it, during moments of peaceful acceptance or hard-found resignation.


*************************************************************************************

An Examination of Transcendence

Okay, my Artist Statement says "I am an interdisciplinary artist examining the transcendent in the light of the connection between the ancient and the contemporary."

So, how does one examine the space between the ancient and the contemporary in the light of the transcendent?

Read more...
Much of my work has its origins in the ancient or traditional. It is inspired by the everyday articles that were created to make survival easier, ritual meaningful and environs pleasurable. There is a continuity to be found in working with fiber, with sculpture and with story that springs from their antiquity as focal points for human activities. This continuity both informs my practice and is expressed in my work, sometimes becoming the message of a piece or the vehicle for the message. An examination of the historical context of the work of fiberists – my word for the individuals that create articles (decorative, household, personal, industrial) using weaving, felting, sewing, knitting, et cetera – has become a significant part of my praxis as well as one of the inspirations for my personal theory of art, helping me frame my position that art is giving ideas shape. I don’t believe that having a practical use prohibits an article from being art. I have seen exhilarating, breath-taking weavings that could have been used for a number of practical purposes, and probably were. Purpose is as much “in the eye of the beholder” as beauty.

Examining the practical, utilitarian aspects of fiber work allows me to bring this aspect of the craft into my practice, both as a study of methods and as inspiration for contemporary work. I am most interested in the artifacts and techniques used to create them, from earliest known examples through pre-industrial revolution fiber work.

I think that one aspect of the exploration of the transcendent relates to Time – chromos time versus kairos-time – or time as moment-to-moment and time as eternal. Madeline L’Engle has the best explanation that I’ve run across:

Kairos. Real time…That time which breaks through chronos with a shock of joy, that time which we do not recognize while we are experiencing it, but only afterwards, because kairos has nothing to do with chronological time. In kairos we are completely unselfconscious, and yet paradoxically far more real than we can ever be when we’re constantly checking our watches for chronological time… The saint in contemplation, lost to self in the mind of God is in kairos. The artist at work is in kairos. The child at play, totally thrown outside herself in the game, be it building a sand castle or making a daisy chain, is in kairos. In kairos we become what we are called to be as human beings... (Walking on Water 109)

A friend of mine explained how she sees kairos time – God’s Time she calls it. Her explanation revolved around one of the spiralcut magnets from my practicum. She picked up the spiral from the centermost point. The spiral spread out vertically, resembling a curving, sloped walkway up a very pointed mountain. “Here,” she said, pointing to a given spot on the climb. “Here is where your great-great-grandmother was born, and here is where she died. And here,” as she pointed to a spot farther down the spiral, “is where you were born. This place on the spiral represents your allotted time. This is chronological time, time as we know it. But this, this is God’s time.” And she promptly dropped the spiral flat, flat onto the table top, reducing it to a two-dimensional plane. “In God’s time it’s all one. You always were, your great-great-grandmother always was, from the beginning to the end in God’s mind.”

I’m not a religious person. I don’t go to any church, haven’t been to one since racing motorcycles became more interesting than Sunday school, back in seventh grade, but her explanation struck some sort of chord in me, something that has resonated, deep inside, coming to the surface at odd times... I’ve wondered, ever since that simple but profound illustration, if we sometimes skip across the void, skimming into times outside of our own allotted time like a flat stone thrown skipping across the river. Could that be the source of our strangest dreams, the sudden inspiration, the feeling of déjà vu and those unexplained moments of utter calm or utter terror?

*************************************************************************************

Artist Statement

I thought I would put my artist statement here:

I am an interdisciplinary artist examining the transcendent in the light of the connection between the ancient and the contemporary.

I work with materials of all kinds – fabrics, metals, found objects, photographs, dyes, inks, wood, clay, glass and paper – to create sculptures, tapestries, garment- and jewelry-inspired artwork. I paint with encaustic paints, on wood, on paper, on fabric or plaster sculptures. I constantly look to blur the line between art and craft; a line that I see as a historically arbitrary social construction. I believe in questioning the status quo.

Read more...
My projects are sometimes intricate without seeming so, often containing thousands of knots or stitches or hundreds of small incremental steps. I am intrigued by process – the steady stitching or knotting of the cords, the careful laying in of yarns in a tapestry, the gradual buildup of molten metal in welded sculptures, or layers of pigmented wax in an encaustic painting, the position of my hands and the repetitive movements they make – all of which tends to provide/create a contemplative and reflective practice that centers me as an artist and a person.

As an interdisciplinary artist I examine possibilities. I study the connections between art and life, context and concept, inspiration and artifact. I have come to understand that art is giving ideas shape; art is the conscious use of creative imagination, and is in no way limited to the traditional forms historically imposed, but encompasses and includes a great many things.

My exploration and research includes examining garment and identity (garment as metaphor for power/powerlessness, individuality/conformity, and secularity/spirituality/ religiosity), historical fiber and textile techniques with an emphasis on women’s traditional art forms. I use story as a method for communicating the ideas I explore, implementing both the written/spoken word in the integration of story and visual art.

As an interdisciplinary artist I weave together the various parts of my understandings, experiences and involvements as a fabric for my artwork. I spin the threads of my ever-changing awareness of history, sociology, archeology, anthropology, earth science, feminism, queer theory, transcendence, music, science fiction, politics, mass media, workplace milieu and domestic life into rich material for art.

*************************************************************************************