Blog Archives
Q: You started the Bolivianos series in 2017. It has been 8 years since you created The Champ. This endeavor of focussing on a series for almost a decade’s timeline shows that you embody stability as against many artists who tend to hop on to the next inspiration they find. How has discipline, stability, focus and punctuality defined your works apart from being inspired by Bolivian culture for the series Bolivianos? (Question from Vedica Art Studios and Gallery)
A: My first series, Domestic Threats, lasted fifteen years, and my second, Black Paintings, lasted ten. Stability and related qualities are likely natural parts of my personality, reinforced by my previous professional life. My prior careers as a Navy Commander, commercial pilot, and Boeing-727 Flight Engineer undoubtedly helped develop discipline, stability, focus, and punctuality. Details matter deeply to me; as a Naval Officer for twenty-one years, “attention to detail” was paramount. From my earliest days as an artist, I have been meticulous and dedicated to inventing new techniques and refining the craft of soft pastel.
I dislike wasting precious time. As a goal-oriented person, I continually strive to accomplish as much as possible. These qualities were influenced by my Navy career and further deepened by the tragic loss of my husband onboard the plane that crashed into the Pentagon on 9/11. I understand firsthand that life can change in an instant. Whenever I finish one task, I immediately look around and ask, “OK, what’s next?” I devote my studio time to pushing myself and pastel to new technical heights. There’s always more to accomplish as an artist!
Comments are welcome!
Pearls from artists* # 625
Downtown Manhattan
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Think of one of those rare, truly exceptional outings to the cinema. In the lobby afterward the experience elicits from us a language of paralysis and disappearance: “I forgot myself. It could have gone on forever.” Stepping out onto the street, we feel that somehow nothing is as it was before. The passing cars, the night sky above the glass towers, the streetlights reflected on the wet pavement: everything glows with a strange immediacy and newness. It is as if the film had done something to the world. A similar thing might happen when we put down a great novel or take in a powerful piece of music.
The Book of Revelation contains a memorable line: “Behold, I make all things new.” Reflecting on this ancient text, the critic Northrop Frye defined the Apocalypse as “the way the world looks once the ego has disappeared.” Every great artistic work is a quiet apocalypse. It tears off the veil of ego, replacing old impressions with new ones at once inexorably alien and profoundly meaningful. Great works of art have a unique capacity to arrest the discursive mind, raising it to a level of reality that is more expansive than the egoic dimension we normally inhabit. In this sense, art is the transfiguration of the world.
J.F. Martel in Reclaiming Art in the Age of Artifice: A Treatise,Critique, and Call to Action
Comments are welcome!
Pearls from artists* # 563
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
[John] Graham defined art as a “process of abstracting” thought and emotion by the use of paint or metal or stone. Because art was therefore intrinsically abstract, the duty of the artist would be to push abstraction “fearlessly to its logical end instead of evading it under the disguises of charm or being ‘true to nature.’” The artist created for society, he said, but if that society didn’t like what he or she had produced, the artist”does not trade his ideals for success. Martyrs and saints love luxury and success just as much as ordinary people, only they love something else even more.” Graham said, if the artist is a true genius, he can expect to be misunderstood and alone. “The beauty of genius is frightful to behold, few can envisage it. Others find subterfuge in scepticism.” The abstract artist, he said, would be repeatedly challenged by such skeptics asking, “‘What does it mean?’… Is it a sky, a house, a horse?’” To which they should respond with confidence and honesty, “‘No, it is a painting.’”
Mary Gabriel in Ninth Street Women
Comments are welcome!
Q: What in your opinion marks a work of art as contemporary?
West 26th Street, NYC
A: “Contemporary art” is defined formally as art made since 1970 by living artists who are still making new work. People often confuse the term “contemporary art” with “modern art,” but they are not the same. “Modern art” refers to art made during the period between, roughly, the 1860’s to 1970.
Nowadays there are so many different kinds of art – new forms are developing all the time – and almost anything can be considered contemporary art as long as someone, an artist, says it is art. Ours is a fascinating, but bewildering, crazy, and often silly art world. Since I am based in New York, I see a lot that makes me ask, “Is this really art?” and “Why would anyone make such a thing?”
If there is one single element I look for in visual art it would have to be a high degree of craft. I enjoy seeing work that is beautiful, well-crafted, and that makes me wonder how the artist made it. With the exception of Ai Weiwei and Julie Mehretu (maybe others I can’t think of just now), I prefer art made by a single creator, as opposed to artists like Jeff Koons or Damien Hirst, who employ dozens of people to make their work.
Comments are welcome!
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