Artists Describing Their Art:
Timothy King - ARTIST STATEMENT and BIOGRAPHY STATEMENT I find painting goes beyond the notion that painted reality is "nothing but " a precursor to a photographic realism. Painting is a phenomenological experiment. There is a synthesis between the visual and the kinesthetic that forms a powerful third range of human perception. Human space and form are not purely optical manifestations. The painting of mass and line can provoke a muscle sense, a physical ness between viewer and the painted relationships. Hans Hoffman called this "Push-Pull". Matisse referred to this as the convexity of pictorial space. In this "meta-vision" or "minds-eye" the painter is not freed from the experience of perspective and local color and the naturalistic geometry of the objects and scenes. Rather, the painter can be liberated by the experience and knowledge of the defining aspects of human reality. Vision encompasses the obvious factors of sight along with other less obvious paths to sensing reality. Human vision is based on a plasticity of structures that tell us more than what a photograph can convey. The visual system, governed by layers of logical relationships, goes much further than a photo interpretation of reality. Painters like Courbet and Cezanne understood ...
Jan Strup - My Art could possibly be best described as ,,Sense Data Art", from the term brought up by the last century's British philosopher H.H. Price. For him Sense Data were the ,,momentary nonanalyzeable personal objects and states of perception". The ever existing question of the essence of perception and its importance for Art was for me the most thrilling one. Hence the story of my artistic activity may be called as writing a ,,Sense Data Art Diary". As Sense Data, the mind dependent or mind independent ,,personal objects", cannot be further analyzed, the Artist may, by using his sensitivity, try to transcribe these objects on paper and to record them for himself and others. Predominantly the daily pages of my ,,Sense Data Art Diary" were worked out by the method of reinvented automatic drawing as first used by the surrealists. These first unintentional drawings are in the process of further interaction uncovering the essence laying behind or in it as the sculpture is slowly appearing from the rough stone to its final form. This final shape invites for a title, which gives it another spiritual dimension. ...
Cheryl Johnson - Art and imagination have always gone hand in hand with me from childhood. Repetitive marks suggesting texture,circular mandala images and brilliant colors combine in many of my drawings. I call upon the child-core of my earliest years to begin the creations, keeping in mind that the humor of my now adult perspective tempers but does not inhibit all my visuals. My art is my dreams made visual....
Dmitry Rakov - Impossible reality (All new artworks and largerview at www.rakov.de and
Michael Rusch - It is interesting how the term Western Art is defined. For many it means cowboys and horses. While others think of the romantic exagerations by Remington. Still others will seriously consider Western Art, only if it represents the Southwest region. Well having been born in the American West.Living on a Farm/Ranch. Mining for coal and moly at one time. Living the city lifestyle as well, I see the the term Western Art as so much more. The color of the West encompasses its land, people and their attitudes . Whether from the past, future or present day, this color has its own unique quality. This is why I don't like to confine my subject matter to only the pre concieved traditional notions or ideas of what American Western Art is. Its the experiences I'm after so I can put them in the art. ...
John Hampshire - These works are a part of an ongoing body of work I started in 1995. It consists of drawings, which are labyrinths, and paintings derived from images as well as from life. The beginnings of these drawing processes do not deal directly with the image, but the breakup of the picture plane. I establish a series of gesture lines in pen; tentative glimpses translated with definite marks. This is the structure for subsequent marks. I do not allow myself (for the most part) to cross any lines or marks. In turn, initial lines act as "containers" for later lines. The result of this activity is a maze-like structure that also implies an image. I build up greater densities of marks to achieve darker values. The image I work from provides a guide to direct this activity. As the process continues the applied marks become smaller and smaller and the information brought into the drawing becomes more refined. This is a self refining process that I am continuing to push further and further with each piece. This is actually a process that started for me in high school; doodling in notebooks. Only now I have applied this mindless activity to ...