I do not consider myself a master of composite work in its traditional sense. We are all composites of the things we have been introduced to and from those experiences they become a part of us as we grow. An evolution of experiences occurs within us and built-up education over time formulates identity and purpose. For most it is sight that connects us. For others it is the sounds we hear and the connections we make through familiarity. In other scenarios it is about the reminiscence of touch and taste. Our senses combine within to create memories that transcend time and place. We are both here and there.
To be a master in something is to understand the craft and to understand that it evolves even after levels of degrees are reached. To do so is a craft of learning how to blend and mix things together. It takes time and we must admit our downfalls when time allows us to sit back and process. To build a concept is to come up with an idea that resonates and can stick with the viewer long after being in the present. It is an artform of finding harmony in completely unrelated images/sounds/words and combining them to tell a story. Sometimes the meaning is fluid while other times transformed over time. Signifiers give clues and it is contingent on both the viewer and the artist. We become defined by stories and perception and how they are translated by others. I do not consider myself on the level to see this particular project to completion in any manner to do it justice alone. 2 weeks is extensive to flesh out a final working project that one can view in a public setting. Concepts take time and things of value are subjective, but their application worthy of further exploration. Working on a concept as a branching out point ideas are birthed from everywhere and taken in by others to complete when things are left on the plate to handle. We are asked for so much this day and age that it is important to find balance between work and life. Our ambitions and goals are only met by what we are afforded or what we can imagine in our head.
We are afforded many things in life. Life being the main thing we are afforded. I am granted this keyboard as much as I am granted many things. Granted and taken for granted are two completely different things. My original intention was set to go in the direction of food for the time being as portraiture has become a complicated issue to me. Food is a necessity. Food is a part of our life and the essence of one of the many things required for survival and existence. Without it we are not nourished in manners that allow us to sustain in other areas of importance.
I consider myself predominately a portrait artist. Portraiture gives an opportunity to live vicariously through the subject matter chosen as much as a partnership is built that goes both ways in what is given and shared. My life, a complicated issue of moving forward while held back in thought and experience. If I were a fly on the wall, the conversations would be different. To have that connection with another person is to give and take but through respect and understanding. Connections made from someone mostly silent if only I get to know people. Perhaps my keyboard was gifted knowing it is not my own but a chance to speak in a voice that is not peculiar but familiar. Speak. Write. Paint. A portrait with words and/or image is a way to reach out and present the complexities of answering the questions on “who are you?”. Sculptures are made from looking at the potential of what can be. Even cracked stone leads to upside down imagination of how things blend together.
I think about what is on my plate. A sense of place lingered this quarter figuring out a sense of self. Sense of purpose there and evolving as it should. I am protective this quarter to include mostly myself as I figure out how to proceed forward balancing how that relates to you. It is about us one way or another. I started previous quarters with the idea of a Starving Artist. The idea grew and has grown since then. It can grow exponentially under the right circumstances and the right conditions. Those come from what we are afforded and with the knowledge that things could always be refined and defined later. The idea of a starving artist is that you have to work with what you have available to you at the time. 10 year old equipment, 16 dollars an hour knowing others survive on less, and lighting equipment that may not be the most industry standard but creates effects that are still worthy of note. You have to do what you can to survive and sometimes/most times you have to do what you can to put food on the table.
Food is scarce. Food is important. That is true of people under-employed. That is true of people on unemployment. That is true of people in other countries around the world that work with less to make ends meet. Zero conflict there on what is relative to the rest of the world. Always room for expansion of what artists have to do to make a living and then there is also the notion to protect and cherish what you have. Even the most innocuous items are a fundamental ingredient to something greater. It is all about artist intent. Collaboration abound. Recipes held back.
The ingredients to things is to understand that it is not going to be perfect at first pass. There is no just flip the switch and boom you are done. There is always refinement to occur. Am I rough around the edges or am I just picking up the pace of new directions of what can and cannot be done with help?
Offered up on a silver platter; a concept is continued. A fly there to lead a mystery yet to be solved.
