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Author: Al_Razza, Contributing Editor
| This Old House
Sometimes we are not builders, just renovators. And that's okay. Like the old houses I've seen repaired and made new again. It works for the arts to. The last fifty years has been full of art that is merely one of refreshed styles. Take the secure road and improve. It works just fine most of the time. But for me, I have been bored by that kind of security. When I want adventure, I find it in these kinds of challenges. But sadly, in working like I suggest, you may achieve nothing, but the memories of where you were, of what you gave up, and left behind. Are you prepared for that? |
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| Above work titled Re-Animator, mixed medium, 48" x 48", 1991
Let us see what will come out of it In the work “Re-Animator” I built several layers of paint skin, and mounted it on canvas. And there was a keen sense that I had accomplished a new kind of expressionist work. After some time, I considered what I had done. After all I did many works like this. So I chose to cut it apart, and then reassemble it in some new order. You see, I liked what I did in the first phase, but I discovered I liked it even better in the second phase. I then began to paint on it with a fresh sense of direction. It was thicker than all the rest and it fulfilled my need for something that was more sculptural than a traditional painting. That was a turning point. The work was starting to look like relief sculpture, while still remaining a painting. It was paint skin on many levels higher and thicker than anything I did previously. I also learned that when I got bored with my work, I took a knife to it. Isn’t that like today’s plastic surgery? We get bored with who we are and so we change ourselves. |
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| Above work titled: Eye Contact, mixed medium, 72"w x 48"h, 1994
In a work such as “Eye Contact”, I not only cut up several paintings, but also added new elements. In this case a pair of plastic doll’s eyes. They look out at the viewer mysteriously, suggesting that the painting is looking back at you the viewer. (Sorry, no detail of the eyes was provided for this article.) No matter, it is the innovation of the works evolution that concerns me. If I hadn’t worked in this fashion of recycling good work, I would not have discovered how the surface could be reactivated. Now this too might be subject to debate. But this process does set itself apart from mere destruction of a work of art. And you may have an idea that is equally effective without involving the destruction of your work. After a while the process will take over and destruction is no longer in the equation. Still, I will not give up on the notion that some sacrifices are necessary. |
| The Hurt & Loss
Lets talk about the hurt, the loss, and the failures to. So few of us admit to those. Remember every exhibit you ever went to, you only saw what they, the artist, the curator chose for you to see, not the stuff that ended up in the trash. Would we want to see that stuff? Most of us only want to see the successes. We sometimes think that Da Vinci, Rubens, Monet, Picasso, etc. never had any failures. We are endeared by their successes and see very little of their experiments. They are after all our mentors, and we have a sense that they are not human, but superhuman. Only occassionally will an article appear stating that a Da Vinci painting is in a poor state and this is because he chose to experiment. But we all fail, even those who are great masters. I don’t know where I will end up in my career, but I have chosen to leave behind some failures as well as successes. Not because it is my intention to be mediocre, but because my research is my best asset. That may be why I will never win an "Oscar" for a single great performance or masterpiece, but hopefully one for a lifetime of achievement. In my quest to produce the best work possible. It has been extremely important to me to experiment. The notion that I must sacrifice a work, or take a work apart, and rebuild it has left me to ask, if indeed, I ever really destroyed any of my works at at all? |
| Let’s read a few artist's thoughts about destruction.
“I would definitely cut up work to produce a new piece or just to have the experience. I am a big proponent of 'it's not about the destination, it's about the journey.” Janet Gold, artist & teacher, Florida. “I cut up work all the time. Sometimes to make other works, sometimes to get a better design understanding, sometimes just cause I think it needs it.” Howard Cowdrick, artist, Florida. “As a woodworker I don't need to. I do my experimenting on scrap pieces. I have though (in the process of experimentation) destroyed things in an attempt to make them better.” Robert Bagley, artist, Florida. “SO.... THIS IS A PORTION OF AN ART IN AMERICA REVIEW FROM MY MIAMI SERIES EXHIBITION IN MID-90'S ; CUT IT UP - PASTE IT ON - WHATEVER... USE WHAT YA' CAN AND USE WHAT YA' GOT ! HISTORY, BRA ! IT IS HOWEVER, AL, NOT ONLY ABOUT LEARNING... AS YOU PROPOSED IN YOUR QUESTION... SOMETIMES IT IS ABOUT WASTE ! EVEN IN A QUALITY PIECE !!! WHAT ? WASTE ? - ? GOOD PASSAGES IN A LOUSY PIECE; NO WASTE. COLLAGE IT !!!!!!!!!!!!!!!!!!!! BETTER PASSAGES IN A QUALITY PIECE... ??? SOMETIMES WE ARE UNABLE TO DUPLICATE FROM ONE WHICH SHOULD AND "IS" MUCH BETTER SUITED TO ANOTHER PIECE . INTERESTING COUNTER PROPOSAL... CUT UP QUALITY; USE TO CREATE ANOTHER; TURNS OUT AS A PIECE OF "JUNK"... LOST WORK.. GAINED KNOWLEDGE... " LEAVE IT ALONE; PERHAPS... " IS ALL WORTH THE LOSS TO KNOWLEDGE; OR ARE COINS THAT JINGLE, JANGLE, JING... BETTA' ? JUST FRUGAL AND JUDICIOUS INGENUITY; PERHAPS. OR AESTHETIC BRILLIANCE... ! MOST LIKELY "TO CHEAP TO WASTE THE MATERIALS AND EFFORTS " ! CHOICES, CHOICES, CHOICES... INTEGRITY.. OR ? WHO IS TO SAY; BUT TIME AND TIDES !” Ron Banks, artist, Florida |
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