The eternal question(s): Does it matter what the artist intended? His or her background? His or her influences, research, working methods? Do these things matter when it comes to how an audience interprets or should interpret their work?
Yes and no and maybe and perhaps, in no particular order. As in, great works of art, at least, don’t require the acquisition of such knowledge (to be appreciated), though that knowledge may enhance the experience. It can also ruin it, or something in between. The continuum is there, with its myriad nuances and degrees.… |To be Continued “Only They Know What is Known”
Dr. Ernest Williamson III: In Conversation With my Art
My unconscious mind frequently transfers experiences or snippets of information or images to my conscious mind and I feed off of that and create art. I work best when I have extended periods of time to work on my paintings, usually during the weekends.
Politics, nature, good and bad experiences, and the possibilities of creating something truly novel all inspire me. The works of Picasso and Dali still inspire me today and my creative efforts inspire me as well.
When I paint, I am taken into a different place that is boundless, without limits and constraints. Paint, brush, canvas or wood mix to reveal what may have been overlooked and left unnoticed. I paint to leave an imprint, a record of my time here. The colours are an archive of memory to be deciphered by others. I blend the poetic word with the mute witness of paint. It records my struggle to keep death away and yet I notice how faithfully it sits next to me, as if to say, I have not seen this before. My art resides in the tension between the eternal and the temporal as I seek to understand what lies before me.… |To be Continued “Mark Zlomislic: After Francis Bacon”
When I stumbled on oil pastels several years ago after not having had any formal background or training in art, I surprisingly found myself enjoying working strictly in this medium. I am most intrigued not only by its texture, fluidity, and vibrancy of colour but also with the dimension and depth which can be readily achieved through simple hand and finger smudging. In this way, being so closely connected physically with the paper, I find myself able to become even more deeply immersed in the work.