I create art because I like comparing my perspective with others’. I like hearing what people think of my visions and ideas. There are a thousand ways to look at something that inspires you. Go to a gallery or look at an animated video, there are renditions trees, faces, buildings, food, etc. – all of these things are seen differently by every artist. Not a single work shares an identical look. It amazes me how people can manipulate and interpret common things. Creating art an experiencing others’ art is extremely fun for me.
Sunday, January 30, 2011
Ali's Statement
I am an artist because it is only in art that I am able to express the person I really am. I am able to free myself from the expectations and pressure from other people. I can open up my soul and release my true being without being judged for the person I am at heart.
Sunday, December 5, 2010
a statement
Through my choreographic pursuits it is my deepest intention to reveal honest and
vulnerable expressions that display an expansive definition of technical skill. Working in this
manner allows me to contribute to the field of dance by continuing to embed the democratization
and inclusiveness into choreography and performance. I aspire to present work that awakens the
unconscious/subconscious body-mind and to use the language of the moving body to convey
what might not otherwise be articulated in words.
vulnerable expressions that display an expansive definition of technical skill. Working in this
manner allows me to contribute to the field of dance by continuing to embed the democratization
and inclusiveness into choreography and performance. I aspire to present work that awakens the
unconscious/subconscious body-mind and to use the language of the moving body to convey
what might not otherwise be articulated in words.
a statement
Consider it Vertovian of me, but I believe the purpose of art is to do nothing more than imitate or, perhaps, emulate life. This isn’t to say that a realist painting is any more valuable than an impressionist or even experimental work of art. When it comes down to it even works such as Matisse’s blue nudes attempt to display and tell us something about life.
However, it becomes rather conflicting because art will never actually be able to succeed in imitating life, but that’s part of why I continue to strive to do it. That failure teaches us, or at the very least me, about life more than any other great accomplishment could. We learn from our failures and not our successes. I wrote down a memory the other day that will possibly express all of what I’m trying to say more clearly than a strict statement could. It was a memory I had as a child when I felt like God.
My father showed me how to create “infinity” by placing two mirrors across from one another. Of course my mother ruined it by pointing out God created everything that let us have the mirrors at all. But for a little bit I felt like the creator of something. That’s when I started making art. That’s when I devoted my life to trying to feel like God again. And that’s when I chose to pursue a life of intentional failure.
However, it becomes rather conflicting because art will never actually be able to succeed in imitating life, but that’s part of why I continue to strive to do it. That failure teaches us, or at the very least me, about life more than any other great accomplishment could. We learn from our failures and not our successes. I wrote down a memory the other day that will possibly express all of what I’m trying to say more clearly than a strict statement could. It was a memory I had as a child when I felt like God.
My father showed me how to create “infinity” by placing two mirrors across from one another. Of course my mother ruined it by pointing out God created everything that let us have the mirrors at all. But for a little bit I felt like the creator of something. That’s when I started making art. That’s when I devoted my life to trying to feel like God again. And that’s when I chose to pursue a life of intentional failure.
a statement
I am not an artist.
An artist is an enthusiast, someone who creates something intentionally, whole-heartedly.
I create “art” for the sake of a grade, in a class, taught by an artist, surrounded by artists.
I do not make for a feeling, for thoughts or ideas, emotions, or to tell a story.
Just follow the syllabus.
This is not to say that I do not enjoy creating art, because I do.
Does this make me a fake?
I enjoy the process of bringing into existence a new form, a new shape or object.
I do so without an ultimate goal.
I create in the moment, without thought or emotion, no plan.
Only process.
Adding and attaching.
Subtracting and erasing.
Working.
Touching, feeling, breathing.
Moving.
I care only for aesthetic.
Does this make me superficial?
Only skin deep.
My work has texture, pores or facets if you will.
Caves and mountains and valleys and boulders.
This probably stems from being raised in nature.
It is clean and healthy.
Trees and fresh air.
The smell of wood.
Blisters from working the land.
Working the material.
Always tidy, neat, and very particular.
Like my life.
Never messy.
Life is messy.
It is beauty.
It is large and voluminous.
It is bright and obnoxious.
Or white as snow.
It is intriguing to the viewer.
It is secretive and revealing, at the same time.
Yet, has no meaning.
Maybe that means something.
My creations are never gory.
Never dark.
Far from depressing or sad.
Maybe a little dramatic.
Light-hearted and carefree.
Simple objects.
Clean lines.
Obsessive compulsive.
It is maddening.
I am creative.
But.
I do not want to be an artist.
I want to be surrounded by artists.
Surrounded by creative minds.
An artist is an enthusiast, someone who creates something intentionally, whole-heartedly.
I create “art” for the sake of a grade, in a class, taught by an artist, surrounded by artists.
I do not make for a feeling, for thoughts or ideas, emotions, or to tell a story.
Just follow the syllabus.
This is not to say that I do not enjoy creating art, because I do.
Does this make me a fake?
I enjoy the process of bringing into existence a new form, a new shape or object.
I do so without an ultimate goal.
I create in the moment, without thought or emotion, no plan.
Only process.
Adding and attaching.
Subtracting and erasing.
Working.
Touching, feeling, breathing.
Moving.
I care only for aesthetic.
Does this make me superficial?
Only skin deep.
My work has texture, pores or facets if you will.
Caves and mountains and valleys and boulders.
This probably stems from being raised in nature.
It is clean and healthy.
Trees and fresh air.
The smell of wood.
Blisters from working the land.
Working the material.
Always tidy, neat, and very particular.
Like my life.
Never messy.
Life is messy.
It is beauty.
It is large and voluminous.
It is bright and obnoxious.
Or white as snow.
It is intriguing to the viewer.
It is secretive and revealing, at the same time.
Yet, has no meaning.
Maybe that means something.
My creations are never gory.
Never dark.
Far from depressing or sad.
Maybe a little dramatic.
Light-hearted and carefree.
Simple objects.
Clean lines.
Obsessive compulsive.
It is maddening.
I am creative.
But.
I do not want to be an artist.
I want to be surrounded by artists.
Surrounded by creative minds.
a statement
I am an artist to evoke emotion in others and to share beauty with those who cannot find it in their everyday life.
a statement
Art for me is a genuine chance for me to be me. I love to see other people’s art just as much as
creating it because, if you know the artist has a reputation for being honest, you get an inside
look at their deepest feelings and thoughts. I do video for my profession, but it is i for a major
fashion company and there is not much opportunity to be creative. Where I am always open to
show my creativity is in my music. When I am finished composing something new, weather I
create something in relation to my mood at the time, or interpreting a story, I know that the time
and hours that I have dedicated to that piece is the most genuine time of my life that I spent
well.
-Drew Love
creating it because, if you know the artist has a reputation for being honest, you get an inside
look at their deepest feelings and thoughts. I do video for my profession, but it is i for a major
fashion company and there is not much opportunity to be creative. Where I am always open to
show my creativity is in my music. When I am finished composing something new, weather I
create something in relation to my mood at the time, or interpreting a story, I know that the time
and hours that I have dedicated to that piece is the most genuine time of my life that I spent
well.
-Drew Love
a statement
I am a visual communication designer. I chose to go in this direction because I like beeing creative. I think beeing a designer gives you something back, other jobs can´t do in this way, e.g. to put effort in a special work and create something new and see the endproduct and especially if the person I made it for is really happy with it, makes me happy and I know why I work for it so hard.
I try to orientate more in the digital direction learning to work with film, animation, movies, projections and touchscreens, so more the digital media.
For me this is important, I think the digital media is our future, like touchphones, laptops and so on are already. You can spread digital media much wider than a printed Object like a flyer or a business card.
I love watching film and I love working on it, it´s my passion. I like the media film so much, because everyone can understand motion pictures it´s a worldwide thing and it connects people in different ways. If it´s only that they have the same interests in film or its a topic they can connect with... I want to create things like that, media where people can indentiify with and talk about.
a statement
Currently I am inspired by the limitations of the human ear’s ability to filter and
decipher content when it is overloaded with many audible sources simultaneously. When
we have too much discernible information that needs to be translated at once, momentary
confusion is created. We become unable to distinguish the origins and definitions of sound
as they begin to overlap and pile up. Could you detect your friend’s voice through the
soundtrack of 5000 commuting people in a subway station during rush hour? Amid any
auditory chaos we begin to listen for something familiar so that we can focus on, and find
relief in, the recognizable, like sailors searching for a lighthouse from the deck of a
battered ship lost in a stormy sea.
This year I began to record, edit, and mix, languages and sounds into abstract
compositions. This kind of sound composition is known as musique concrète. Musique
concrète is a form of electroacoustic music that utilizes acousmatic sound as a
compositional resource. The compositional material is not restricted to the sounds derived
from musical instruments or voices, nor to elements traditionally thought of as "musical"
(melody, harmony, rhythm, meter, and so on). While making this work, I have been
thinking about isolation, transparency, eavesdropping, observation, and the overall
misinterpretation of familiar sounds. I have become interested in removing definitions from
the words, and the origins from the sounds, that I use to compose these sound pieces. My
intent is to exhibit an auditory emotion that exists within the phenomena of audible chaos.
These “sound environments” are a result of simultaneously overlapping multiple languages
and sounds to create momentary confusion when listened to. I hope to entice listeners into
attempting to translate the unidentifiable. I want them to find a connection to the emotional
content that exists beyond the literal definition and identity of the words and sounds they
are hearing.
Some of this work exists within the space of handmade clear glass capsules that
need to be investigated by using a stethoscope. These compositions are intended to be
listened to one person at a time, in order to simulate the isolation of thoughts inside one’s
head and give each viewer an uninterrupted chance to connect with each work. I make the
physical forms in clear glass because the material is unassuming, transparent, and has an
honest quality about it. What you see is what you get, or so you think. Most of the time,
sound cannot be physically seen, is relatively invisible, and is usually only recognized by
the vibration of our eardrums. The clear glass mimics the invisible/transparent quality of
sound that you cannot see, but it also acts as an window or separator, which I intend as a
way to physically replicate what I call “immediate vicinity isolation bubbles” or IVIBs: those
zones of imaginary privacy that seem to surround people as they nonchalantly talk about
their private concerns in public while using cellular phones. The glass physically separates
each of the works interior audio narratives from each other, thereby allowing each
composition of musique concrète to coexist in the same exhibition space without detracting
from one another. Utilizing this material allows me to build a transparent environment that
can diminish, or erase, the audible from the viewer without isolating their visual
perspective, thus creating the false sense of privacy that one has inside a phone booth. An
exchange of private dialogues take place and where every passerby is witness to the event
of that conversation even if they cannot hear it. I am giving the audience permission to
penetrate this separating layer and granting them access to a private interior where they
can eavesdrop, one person at a time, and indulge a momentary fascination.
Robert Lewis
decipher content when it is overloaded with many audible sources simultaneously. When
we have too much discernible information that needs to be translated at once, momentary
confusion is created. We become unable to distinguish the origins and definitions of sound
as they begin to overlap and pile up. Could you detect your friend’s voice through the
soundtrack of 5000 commuting people in a subway station during rush hour? Amid any
auditory chaos we begin to listen for something familiar so that we can focus on, and find
relief in, the recognizable, like sailors searching for a lighthouse from the deck of a
battered ship lost in a stormy sea.
This year I began to record, edit, and mix, languages and sounds into abstract
compositions. This kind of sound composition is known as musique concrète. Musique
concrète is a form of electroacoustic music that utilizes acousmatic sound as a
compositional resource. The compositional material is not restricted to the sounds derived
from musical instruments or voices, nor to elements traditionally thought of as "musical"
(melody, harmony, rhythm, meter, and so on). While making this work, I have been
thinking about isolation, transparency, eavesdropping, observation, and the overall
misinterpretation of familiar sounds. I have become interested in removing definitions from
the words, and the origins from the sounds, that I use to compose these sound pieces. My
intent is to exhibit an auditory emotion that exists within the phenomena of audible chaos.
These “sound environments” are a result of simultaneously overlapping multiple languages
and sounds to create momentary confusion when listened to. I hope to entice listeners into
attempting to translate the unidentifiable. I want them to find a connection to the emotional
content that exists beyond the literal definition and identity of the words and sounds they
are hearing.
Some of this work exists within the space of handmade clear glass capsules that
need to be investigated by using a stethoscope. These compositions are intended to be
listened to one person at a time, in order to simulate the isolation of thoughts inside one’s
head and give each viewer an uninterrupted chance to connect with each work. I make the
physical forms in clear glass because the material is unassuming, transparent, and has an
honest quality about it. What you see is what you get, or so you think. Most of the time,
sound cannot be physically seen, is relatively invisible, and is usually only recognized by
the vibration of our eardrums. The clear glass mimics the invisible/transparent quality of
sound that you cannot see, but it also acts as an window or separator, which I intend as a
way to physically replicate what I call “immediate vicinity isolation bubbles” or IVIBs: those
zones of imaginary privacy that seem to surround people as they nonchalantly talk about
their private concerns in public while using cellular phones. The glass physically separates
each of the works interior audio narratives from each other, thereby allowing each
composition of musique concrète to coexist in the same exhibition space without detracting
from one another. Utilizing this material allows me to build a transparent environment that
can diminish, or erase, the audible from the viewer without isolating their visual
perspective, thus creating the false sense of privacy that one has inside a phone booth. An
exchange of private dialogues take place and where every passerby is witness to the event
of that conversation even if they cannot hear it. I am giving the audience permission to
penetrate this separating layer and granting them access to a private interior where they
can eavesdrop, one person at a time, and indulge a momentary fascination.
Robert Lewis
a statement
What do I believe art is? If someone were to ask Anthony, "Anthony, what is art?" I wouldn't do a fine job of telling you; I could show you though. To me art evokes response, emotion, and thought. A broad definition I know, but I mean, what is art? It's subjective isn't it? It sure seems that way when one skims over the history of art in the public realm since the dawn of culture. Is it practical? Is it useful? Is it offensive? Is it just awful? Is it not art? Art is what I make of it. Out of the hum drum of everyday life, or out of the inner workings of my own mind. Art is in the mind. My Art and my concepts of art are mine alone.
a statement
As an artist who takes pictures, I feel obligated to document experiences that
describe our temporal nature, known more commonly as life. As humanity reaches
new heights of exploration, of discovery, creation and invention—some may argue
that today humans are better than the day before. Like the prescribed recipe for
evolution, we are designed to operate within social norms, to produce a better,
smarter, and stronger generation—for the betterment of mankind. I am interested in
illustrating this cycle of preservation, our attempts to remain fossilized in an
environment which will always prevail in our erasure.
I am jealous of those who believe in the afterlife. For those who do not
believe, we recognize that the true reality is consciously unbearable. A trip to
blissful heaven is a clever disguise for an eternity of nothingness, but better yet
proves to be an elegant example of checks and balances derived by those in power.
It is this idea that gives me anxiety; it is this idea that keeps me awake at night. My art serves as a catharsis—freeing me from my fear of the inevitable.
Through contemporary photographic processes, the photograph operates as
a document to the performances that are shown before the camera. Viewers are
perceived as unaware voyeuristic participants of the bizarre rituals shown. My
performances, often including the manipulation of the body surface, become the art
itself. The fear of suffocation, the tangibility of the material, or the feeling of the execution of an unknown action is what I find most interesting. Through the
photographic window, viewers are invited into these intimate illustrations of the
sublime.
describe our temporal nature, known more commonly as life. As humanity reaches
new heights of exploration, of discovery, creation and invention—some may argue
that today humans are better than the day before. Like the prescribed recipe for
evolution, we are designed to operate within social norms, to produce a better,
smarter, and stronger generation—for the betterment of mankind. I am interested in
illustrating this cycle of preservation, our attempts to remain fossilized in an
environment which will always prevail in our erasure.
I am jealous of those who believe in the afterlife. For those who do not
believe, we recognize that the true reality is consciously unbearable. A trip to
blissful heaven is a clever disguise for an eternity of nothingness, but better yet
proves to be an elegant example of checks and balances derived by those in power.
It is this idea that gives me anxiety; it is this idea that keeps me awake at night. My art serves as a catharsis—freeing me from my fear of the inevitable.
Through contemporary photographic processes, the photograph operates as
a document to the performances that are shown before the camera. Viewers are
perceived as unaware voyeuristic participants of the bizarre rituals shown. My
performances, often including the manipulation of the body surface, become the art
itself. The fear of suffocation, the tangibility of the material, or the feeling of the execution of an unknown action is what I find most interesting. Through the
photographic window, viewers are invited into these intimate illustrations of the
sublime.
Sunday, November 21, 2010
a statement
I am an artist because it makes me feel alive. As cliché of a statement that may sound, it is one of the few things I do that make me feel that way. To be able to take thoughts and ideas in my head and put them into the world not only gives me a fantastic sense of accomplishment, but it enables me to express things I could not do in any other form. Working on movies in particular, be it shooting or editing, is the one activity where literally hours can feel like seconds. It’s something that takes me away from myself, and immerses me entirely.
a statement
When it comes to creating art, I don't even see myself as an artist (at least not in the traditional sense anyway). I'm more of an observer than an artist. It isn't the necessary action of making or creating anything, it's more the reflection and reiteration of what I observe. So I look more to the observing than the actual 'creation' of material.
a statement
“The idea hovered and shimmered delicately, like a soap bubble, and she dared not even look at it directly in case it burst. But she was familiar with the way of ideas, and she let it shimmer, looking away, thinking about something else.” – Phillip Pullman, The Golden Compass
The way I am working now is completely new and foreign to me. It is vague, mysterious, sub-lingual, and subconscious. I am trusting my curiosity, my intrigue, my fascination as never before. This is a radical shift for me: I have long defined myself as a planner who deliberately and consciously makes artwork that responds directly to an issue or concept. But in the interest of growing beyond the known, I have let go to see what happens when I follow my impulses and experiment freely without regard to outcome. What I am discovering is that there is more here than I could have imagined. I have become a jealous lover to this way of working, bristling at any voice or situation that might deny me it. I strive to turn this flickering infatuation into something strong, deep and lasting, permanently transforming my personhood and practice by integrating itself harmoniously with my more philosophical and topical intentions. Until then, I must hold it gently, unconditionally, and often.
The way I am working now is completely new and foreign to me. It is vague, mysterious, sub-lingual, and subconscious. I am trusting my curiosity, my intrigue, my fascination as never before. This is a radical shift for me: I have long defined myself as a planner who deliberately and consciously makes artwork that responds directly to an issue or concept. But in the interest of growing beyond the known, I have let go to see what happens when I follow my impulses and experiment freely without regard to outcome. What I am discovering is that there is more here than I could have imagined. I have become a jealous lover to this way of working, bristling at any voice or situation that might deny me it. I strive to turn this flickering infatuation into something strong, deep and lasting, permanently transforming my personhood and practice by integrating itself harmoniously with my more philosophical and topical intentions. Until then, I must hold it gently, unconditionally, and often.
a statement
My hope is that through my art people will be able to understand what I was thinking about, what I was feeling while making the piece. I enjoy creating things and making visuals. Being able to express myself through the act of making a piece is very fulfilling. The first priority is whether or not I'm happy with the final piece, but if the audience enjoys it and understands it as well, it's an added plus.
a statement
What I want my work to achieve as art is a hard question for me to answer because I can not be completely sure the answer of the question what is art. Art to some may not be art to others so what to make my work achieve what I want is not necessarily making it art but putting my mind down in video or film.
I just want my work to be remembered, not necessarily by all but at least by some and most of all by me. I want to look back and see my ideas unfold in front of me and be glad that now anyone can see a somewhat organized glimpse into my mind.
Maybe the work will not be art to some or even most but to me it will be a masterpiece, my masterpiece that will live on forever at least in my mind and hopefully in the minds of some others.
I just want my work to be remembered, not necessarily by all but at least by some and most of all by me. I want to look back and see my ideas unfold in front of me and be glad that now anyone can see a somewhat organized glimpse into my mind.
Maybe the work will not be art to some or even most but to me it will be a masterpiece, my masterpiece that will live on forever at least in my mind and hopefully in the minds of some others.
a statement
A lot of my work as an artist is focused on the things in life that are usually invisible to the seeing eye, but have more affect on the world than those that are visible. In a strong sense, I believe the things people have to feel without being able to see have a stronger emotional affect on them. I try to visualize what these otherwise invisible feelings and senses would look like to a person related to how it would make them feel. Lately, I have been especially interested in the deterioration of a person's well-being and identity as their physical being is attacked by a disease or illness. From my experience of what I have seen people go through, the physical deterioration is apparently by simply sight, but the emotional and spiritual downfall slowly takes away their identity and changes the person more than their physical changes.
a statement
As a video artist who works mostly with live events and performances, I try to convey
my view and perception of the event in a manner that is as genuine and emotionally
connected as possible. I enjoy viewing each project from the audience perspective and
respecting the opportunity to be the link between a once in a lifetime story and the
viewer’s eyes. Bands will play shows all over the world and football at Ohio State will live long past my days here, but the subtle details of emotion and feeling that make each performance individual and unique are the focus of my work.
In personal exploration I find the most interesting aspect of video is the emergence of something new. Even the most horrific failures in advancements are of interest to me. The drive to make something truly unique and without influence by any other idea or concept is so rare today that I would like to show a perspective of reality through video in such a way, that it leaves the viewer with more of an emotional attachment and genuine understanding for when someone says, “you really should have been there”.
my view and perception of the event in a manner that is as genuine and emotionally
connected as possible. I enjoy viewing each project from the audience perspective and
respecting the opportunity to be the link between a once in a lifetime story and the
viewer’s eyes. Bands will play shows all over the world and football at Ohio State will live long past my days here, but the subtle details of emotion and feeling that make each performance individual and unique are the focus of my work.
In personal exploration I find the most interesting aspect of video is the emergence of something new. Even the most horrific failures in advancements are of interest to me. The drive to make something truly unique and without influence by any other idea or concept is so rare today that I would like to show a perspective of reality through video in such a way, that it leaves the viewer with more of an emotional attachment and genuine understanding for when someone says, “you really should have been there”.
a statement
There is one thing that upsets me when trying to create my own work and that is other work. I don’t like seeing other work related to the subject and medium that I am going to work in because I don’t want to be influenced in any way. I like to be able to create my own ideas and use no other references in my work. When I start a project I try not to look at other artist or get influenced by other work around me. My instructors always ask me what artist I like or am influenced by and I always respond none because I don’t look at an artist for ideas. I want to find what is natural for me to create and not steal from another artist. I think the thousands of video feeds I have seen over the years can influence my work in this class, but I will not deliberately research any videos to create a project. I want my work to be a complete fabrication of my own life experiences and personal preferences. I want my work to be an expression of myself and to appeal to my taste. I will not change my ideas to please an instructor or other artist because it’s does not matter to me their opinion. Now I will try and make my work better by changing minor details and use suggestions to help portray my idea better but won’t change a concept for anyone else.
a statement
What is art?
According to Dictionary.com, art is the quality, production, expression, or realm according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance. To me, art is the creation or arrangement of colors, sounds, forms, movements and other elements to produce emotion and reaction. With that said, oil painting and pastel drawing are two means for me to create art while igniting reactions in those who view my pieces. The reaction I strive to evoke in people is happiness because while creating art, I am most happy. Moreover, I believe life is about striving to be happy, and I pursue this through the use of color and subject.
While using bright reds, oranges, yellows, greens, blues and purples, I paint and draw people and places. Usually these people and places are chosen while I am traveling because I find inspiration in those who are from different locations and cultures. Not only are the images I create colorful, but they are inspired by those far away people and places that many may never see for themselves. A dancer in a carnival parade in Brazil, a weaver in Peru, and a lake in Nicaragua are three examples of the images I have created.
These images directly reflect who I am from my love of travel and aspirations to teach people about the world and other cultures. In the past, I have explored and experimented with different mediums and techniques realizing that my passion is painting and drawing, and in the future, I want to integrate different materials that I find while traveling such as stones, leaves, hand woven yarn, seeds, and other elements in nature with my paintings and drawings. My vision and goals are to continue teaching people about the world through my art and to create happiness in those who view my pieces.
According to Dictionary.com, art is the quality, production, expression, or realm according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance. To me, art is the creation or arrangement of colors, sounds, forms, movements and other elements to produce emotion and reaction. With that said, oil painting and pastel drawing are two means for me to create art while igniting reactions in those who view my pieces. The reaction I strive to evoke in people is happiness because while creating art, I am most happy. Moreover, I believe life is about striving to be happy, and I pursue this through the use of color and subject.
While using bright reds, oranges, yellows, greens, blues and purples, I paint and draw people and places. Usually these people and places are chosen while I am traveling because I find inspiration in those who are from different locations and cultures. Not only are the images I create colorful, but they are inspired by those far away people and places that many may never see for themselves. A dancer in a carnival parade in Brazil, a weaver in Peru, and a lake in Nicaragua are three examples of the images I have created.
These images directly reflect who I am from my love of travel and aspirations to teach people about the world and other cultures. In the past, I have explored and experimented with different mediums and techniques realizing that my passion is painting and drawing, and in the future, I want to integrate different materials that I find while traveling such as stones, leaves, hand woven yarn, seeds, and other elements in nature with my paintings and drawings. My vision and goals are to continue teaching people about the world through my art and to create happiness in those who view my pieces.
a statement
As an artist, I have often questioned my motives for creating. The reasons have evolved since my decision to become a fine artist, just as my techniques and inspirations. I find that the only way I am able to successfully fulfill my path as an artist is to evolve, and with that I look for inspiration from all angles. With that pre-empting, I am able to deduce that my mission as an artist is to combine what is often not combined, to display the expected in unexpected ways, and to push to the limit what habits have been perpetuated throughout the times., in regards to the visual world. If I am able to surprise and awe viewers, showing them that what they are seeing is perhaps not all that is before them, then I will have completed my short-term goals, eager to push through to the edge of my imagination.
a statement
I create contradictory art. I create art from necessity in the work place and to fulfill my own needs. I create art for the benefit of others and for my own satisfaction. I create art that is meant to be shared by the general public and art meant for my eyes only. I create both by mistake and intentionally. Sometimes I create art for no reason other than the fact that I like it. I create art that I am proud of and art that does not necessarily represent me. I hope to create art that can be viewed on multiple levels yet is beautiful in its simplicity.
a statement
Something I've learned about art during these past couple of years is the necessity of experimentation. One can only determine how others will react to a his/her artistic decisions by displaying them and receiving feedback & criticism...there doesn't seem to be any way to know beforehand how others will react to a particular artistic decision, unlike a scientific experiment...in which one has at least some idea of what will happen. This particular realization frightens me...despite the fact that my attempts to create art have typically been regarded positively. Perhaps this should be my motivation to continue experimenting, even when I'm sure no one will like my work. I may simply continue to be pleasantly surprised...or I may end up finally creating work that is a complete failure artistically. But then, doesn't one learn more from failure than from success in the first place?
a statement
I am not a conventional artist, I don’t think artistically at all times during the day. I don’t like to plan out my projects. I love to create on my own terms and at my own pace and I think that is when my best work is created.
Like many others I find it hard to explain what my work means, but one definite goal I have is to inspire. In creating, my hope is that I can draw emotions out of my audience, give them something to think about. I’m very interested in what kind of experience my viewers take from my pieces.
I believe that art is a way of expression. A way to represent sounds, images, colors, feelings, and shapes in a way that makes sense to the artist. The one that I enjoy about being an artist is the fact that art can be anything and there are no limitations to what can be created.
Like many others I find it hard to explain what my work means, but one definite goal I have is to inspire. In creating, my hope is that I can draw emotions out of my audience, give them something to think about. I’m very interested in what kind of experience my viewers take from my pieces.
I believe that art is a way of expression. A way to represent sounds, images, colors, feelings, and shapes in a way that makes sense to the artist. The one that I enjoy about being an artist is the fact that art can be anything and there are no limitations to what can be created.
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