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Where are in the process of being creative in the serach for art?

January 8th, 2013

Where are in the process of being creative in the serach for art?

For an artist to be found on the internet is really difficult. Artist's web sites are in the thousands. If you are lucky you as an artist can be found by you name, but how do you get people to know your name? So I am trying to do this with a blog. I would like to discuss art, the process of making art and trying to descern what is art. I had a professer in college, Richard Evans, who said "If it's good, it's art." But what is good? B. Fuller talks about inventions and art as being "more than the sum of the parts". That seems to be a start. Where all the parts contribute to the whole and the whole would be somewhat changed without any of the parts. I guess that means, not extra parts or baggage. We've all heard that before, but how do you use it?

I wrote this a few years ago and still think it has possiblities: "All art must be crafted and that is the process or path. It doesn't seem to matter where you start on the path or why you are there. The path is a route to bring all the parts together. I believe meaning (subject), materials and self (sincerity) are the parts, with their own integrity must be crafted into a reciprocal balance to become significant. If something is badly crafted, one part is getting all the attention and the viewer can't see anything else. Discipline gives a sense of the integrity of the materials and self-confidence to look at a piece square in the face and find out what it really needs, but is not an end in itself. Even though a child's skill level is not "cultivated", that level may be in perfect balance with the passionate subject matter and be very powerful and significant. Craftsmanship does not have to be laborious. I am a craftsperson on the path and who knows, if I'm lucky, maybe what I do will be called art someday. Each piece is a new beginning and needs it's own balance."

I know that some paintings I do are very important to me; in my heart I think I am actually getting better. Usually those painting are the one which get the least attention. As of now I believe that the artist hasn't got a clue whether their is "art" is any good or even working. Hence the struggle is to keep working.

Where are you in that process?

Won a blue ribbon in the Prescot Valley Guild Juried Art Show - Oct. 9, 2010

October 10th, 2010

It's always a kick in the pants winning ribbon in an art show. I will get $50 for a blue ribbon for "Evolving" and $25 for a red ribbon on my sculpture "Engage". Hey; that will pay for my entry fee and $39 to boot. My favorite piece "Humility" got nothing. I can't seem to guess what pieces other could possibily be attracted too. Can you? I sure would like some input.

Illusions

August 11th, 2010

Illusions

This is a painting I recently finished. It could be my best one or my worst one. I never know for sure when I finish them. I have been inspired by an article that I read in the Sumer 2007 Lettering Arts Review. It's an interview with callligrapher Brody Neuenschwander by Susan Skarsgard. In the article he says: "When I teach calligraphy workshops, especially in the States, I find the students far too willing to judge by appearances alone. They put a little square here or there for optical reasons alone, which means the work might look good but mean nothing. Perhaps this is an indication of certain deeper social ills, certain tendencies to stick with superficialities rather than going for the significant depths." Coupled with a book given to me by a friend recently - Pen Calligraphy by John W. Cataldo, I know that I must work harder at meaning. I had never heard of him, Cataldo, before and was very excited by his approach to calligraphy with metaphor. With letter forms sometimes chance is needed to make them work - my painting R.E.M.'s Edge was really just luck. The image came from the lettering rather than the usual. I can't say that the lack of meaning has to do with "social ills", but I have noticed a dominance in art(?) as craft without meaning or sincerity and sincerity (self-expression) without craft or meaning. Basically missing part of a three-legged chair: Craft (materials), sincerity and meaning (subject matter) seem to make up the parts of "more than the sum of the parts" as Buckminster Fuller use to say and in my opinion are necessary for art. Not that I even come close, but it's a goal. Please give me some feed back - we are all just learning.

About my calligraphic art - Sid Freeman

August 4th, 2010

About my calligraphic art - Sid Freeman

My name is Sid Freeman and I have been a commerical calligrapher since 1987. Recently I have been do less commerical work and more calligraphic painting or letter art. Maybe you would like to call it symbolic art twice removed. This piece "Humility" contains two quotations. The first one is from the book The Tao of Physics by Fritjof Capra and reads "In a theory which combines both quantum and relativity theories, it is not possible to specify the position of individual particles precisely. If this is done, as in field theory, one has to put up with mathematical inconsistencies which are, indeed, the main problem in all quantum field theories...Such a theory of subatomic particles reflects the impossibility of separating the scientific observer from the observed phenomena...It implies, ultimately, that the structures and phenomena we observe in nature are nothing but creations of our measuring and categorizing mind." And the quote comes from the Anishinable people; "What the people believe is true."
The curved line structure is from a Relativity model and the Equilateral triangle & circle structure is from a Quantum model.
I used watercolor with a lot of popcorn, beads, beans and toothpicks to create the tecture in this painting and think of it as a metaphor for the constantly moving engetic life of atom and subatomic energy. I would like to know what you think?
Thanks, Sid