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Artist Statement for William Quealy
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IN FINE PAINTING THERE IS NO LONGER AN EXPRESSION OF A COHERENT PHILOSOPHY. IN THE HISTORY OF PAINTING IN THE OCCIDENT FINE PAINTING ONCE EXPRESSED A LESS CRYPTIC PHILOSOPHY. AS TIME PASSED, FINE PAINTING PHILOSOPHY BECAME ALMOST UNINTELLIGIBLE. BY THE TIME PICASSO BROKE THE AESTHETIC BARRIER, PAINTING WAS IN A PERMANENT REVOLUTION. PAINTING HAD A CRITERIA THAT WAS ALMOST NOT ASCERTAINABLE . WITH THE ADVENTS OF THE WORLD WARS, THIS PHILOSOPHY BECAME MORE EXISTENTIAL AND LESS DEFINITE. THIS IDEOLOGY WAS AT MOST FULLY EXPRESSED BY THE ABSTRACT EXPRESSIONISTS WITH THE ASSERTION THAT PAINTING MUST AND CAN ONLY BE THE PURE EXPRESSION OF SELF WITHOUT REGARD TO A NON-EXISTENT OR CONTRIVED CRITERIA. THE RESULT WAS A WORK OF FINE PAINTING NEED NOT BE BASED ON ITS AESTHETIC MERIT OR ITS PHILOSOPHICAL INSIGHT.THE FLAW IN THIS PHILOSOPHY IS THAT ABSTRACT EXPRESSIONISM WAS BASED ON THIS PHILOSOPHICAL INSIGHT AND CRITERIA THUS CAN NOT BE EXCLUISIVE OF ITS OWN PREMISE. THE PHILOSOPHIC CRITERIA OF FINE PAINTING THUS BECAME SO CRYPTIC IN ITS PERIMETERS THERE BECAME A LOSS OF DISCRETION IN JUDGMENT ABOUT WHAT FINE PAINTING IS. THE ART FORM QLIMINAL IS AN ART FORM THAT ADRESSES THIS PROBLEM. QLIMINAL IS A VISUAL "LANGUAGE" OF ART BASED ON THE DISCOVERY OF THE UNIVERSAL INTUITIVE OF COLOR FORM ASSERTION-THE ASSERTION THAT THERE IS AN INTUITIVE ATTRACTION TO SOME FORM OF PHILOSOPHIC AND VISUAL COHERENCE . THERE IS ALSO A HISTORIC ARTISTIC "LANGUAGE" BASED ON THE EVOLUTION AND REVOLUTION OF PHILOSOPHY. THIS PHILOSPHY HAS BE EXPRESSED VISUALY BY LANDMARK PAINTINGS AND THEIR REVOLUTIONARY AND EVOLUTIONARY DIRECTIVES AND THERE DERIVATIVES. THIS GIVES IS A "SYNTAX" TO THE AXIOLOGY OF QLIMINAL PAINTING AND MAKES QLIMINAL A VIABLE ANSWER TO THE FINE ART CRITERIA CRISIS.THE QLIMINAL ART FORM DOES NOT ATTEMPT TO SET A STANDARD FOR ART CRITERA, BUT RATHER IS A VISUAL INTERPERTATION OF ART HISTORY AND PHILOSOPHY BY EMPLOYING A DEGREE OF COHERENT INTERPERTATION TO THE ART OF FINE PAINTING APART FROM MERE TASTE.
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