Organic in Art
Exploring the Natural Aesthetic in Art
Art is often associated with the human hand, and the word “organic” might seem like a paradox when used to describe it. However, the use of the term “organic” in art can actually help to define a “non-painterly” approach. The more visible the hand and brushstroke of the painter, the less organic a work becomes. Rather, an “organic” production of feels as if art moves away from personal expression and emotion of the artist and towards the beauty in nature and the natural formation of color and form.
Dzwonik, Giesse and Rodriguez
At ARTSPACE 8, artists, Ula Dzwonik, Martin Giesse and Fidel Rodriguez, particularly we refer to their work as “organic.” They do not aim to obfuscate the human-made aspect of their work but, through their chosen techniques and styles, accentuate their ability to create a more organic effect in their art. Ula Dzwonik’s work for instance, seems as Organic and primitive, characterized by “the use of distressed layers” she works towards this goal using multiple color coats forming a loud and broken surrealist image.
Dzwonik’s works often have pasty smudges-like, concentrated with larger blocks of color, creating a distinct vibrant connection to the background. Her forms and ideas tend not to accept the arbitrary boundaries of the shapes as endpoints, as if each work is but a piece of a larger stencil that has the capacity to stretch over the edge of the subject. Dzwonik paints her works highlighting portions of the canvas or panels by painting blemishes and noise accentuating the unbounded nature of her characters.
Another way in which Dzwonik creates her distressed aesthetic is through her stamping technique. She uses the inherent qualities of differing consistencies of paint to create layers that partially exist to evoke her surreal environment. These layers create a naturally chaotic but controlled aggression with her message. This technique allows Ula to move away from an apparent brushstroke at times.
Martin Giesse takes a very different approach to the organic in his painting but seeks a similar aesthetic of natural form and color. He creates a symphony of natural patterns…seeking to create an organic development of forms. His approach to this goal might be unexpected. Giesse applies a design to that organic approach, as if he is meant to shape nature into something that seems man dominated. He has used this approach for a more abstract purpose than its natural context.
The technique means that the over layer of paint becomes the organic-like forms used as patterns to create that scaly look that drive the conversation in round forms, being the last application. Here, like Dzwonik, Giesse incorporates the organic into his technique but from a different perspective.
Bottom Line is…
The work of these artists shows that “organic” in art is not limited to a specific form or style. Instead, it can be expressed through the use of different techniques, styles, and ideas. In art, the natural and organic are not necessarily tied to the subject matter but can be found in the process of creation itself. The use of natural or organic techniques moves the focus away from the artist’s hand and towards the beauty and patterns found in nature.
Fidel Rodriguez work is an excellent example of this phenomenon. By emphasizing natural forms, behaviors and colors found in elements of nature, he is able to subliminally take every day symbols and
combine them to convey a message directed to the viewer’s psyche. These approaches result in works that are both abstract and evocative of natural behavior of elements. Giesse’s works often feature undulating patterns, which resemble the curves of blooming forms.
Fidel’s work creates a unique dialog that highlights the attraction and recognition of naturals states that makes us question our psyche’s perception, and yet pretty much it’s all nature as if we talk about fire, water or earth.
Ula, Martin and Fidel’s works are excellent examples of how artists can create an organic aesthetic through their techniques, materials or even perception and process. By emphasizing the natural qualities of their media and minimizing the human-made aspects of their works in some cases, they are able to achieve a sense of harmony and chaos that is evocative of the natural world, even though it is harnessed by the artists.
Organic in art can be seen not only in the finished product, but in the very process of creating the work. By incorporating elements of chance and natural process in their techniques, allowing the works to partially develop in an organic and unpredictable way. By embracing these elements, they are able to create works that are not only beautiful, but also deeply connected to their idea of the natural world.
In conclusion, organic in art is not just a description of subject matter, but also a way of working that emphasizes the natural qualities of materials and techniques. By minimizing the human-made aspects of their works and allowing natural processes to play a role, artists can create works that are evocative of the beauty and complexity of the natural world.
Now Let’s get back to basics!
Welcome to our comprehensive guide on the use of organic shapes in art and design.
Let’s explore the key differences between organic and geometric shapes and show you how artists and designers can use them to create visually stunning messages.
Organic shapes, such as leaves, clouds, and rocks, occur naturally in the environment and are often irregular and asymmetrical, making them challenging to replicate accurately. Conversely, geometric shapes, such as squares, circles, triangles, and rectangles, are easily defined using mathematical principles and are often used in design to create a sense of order, symmetry, and balance.
To create natural shapes and forms, artists and designers can use freehand drawing, collage, or digital tools such as Photoshop or Illustrator. Meanwhile, drafting, rulers, and compasses can be used to create precise geometric shapes. But it’s not just about the tools; it’s about the artist’s vision and creativity.
Organic and geometric shapes are both essential elements in visual arts, design, and architecture. Organic shapes usually can create a sense of naturalism and movement, while geometric shapes create a sense of order. In architecture and engineering, both types of shapes and forms are used to create functional and aesthetically pleasing structures.
By combining these two types of forms, creatives can create visually stunning and impactful works. The use of organic shapes in art and design is a powerful way to convey natural chaos in visual compositions. And geometric shapes are useful for creating a sense of order and symmetry through patterns.
In conclusion, as an observer…
The use of organic shapes in art and design is a vital aspect for artists and designers to connect to an audience. The power of these shapes lies in their ability to remind you subliminally the existence of them, which can evoke powerful emotional responses in viewers. We hope this guide has been helpful and inspiring to you, and we look forward to seeing the amazing works you create using organic shapes.
Biomorphic Forms in Art and Design
The use of biomorphic forms in art and design has been a significant trend throughout the 20th century, with prominent artists and designers incorporating organic shapes and natural forms into their work. From the Russian artist Wassily Kandinsky to the Italian designer Carlo Mollino, the appeal of biomorphic forms has extended across continents and mediums. Prominent Painters of Biomorphs Wassily Kandinsky, a founding member of Der Blaue Reiter, moved from Expressionism to abstraction in his art.
He sought to eliminate all traces of the real world in his paintings, and organic forms were a transitional phase in his process. Spanish surrealist Joan Miro and French surrealist Yves Tanguy also incorporated biomorphic forms in their work, though with different goals. Miro sought to unleash his subconscious creativity in true surrealist style, while Tanguy created a world of marine-like creatures.
Armenian artist Arshile Gorky, influenced by Miro and Robert Matta, developed his unique style of ‘living organisms floating in vivid color’ in the US. Natural Shapes in Sculpture Artists such as Jean Arp, Joan Miro, and Henry Moore used natural forms like bones, shells, and pebbles in their sculptures. The rounded, free-flowing shapes of their work were admired as ‘drawings in space’ and proved influential for furniture designers of the 1940s and 1950s.
Their popularity reflected Moore’s belief that “there are universal natural shapes to which everybody is subconsciously conditioned and to which they can respond if their conscious control does not shut them off.” Organic Forms in American Furniture Design The use of biomorphic forms in furniture design is particularly evident in the US. Charles Eames and Eero Saarinen were notable designers in the Organic Design in Home Furnishings competition at the Museum of Modern Art in New York. Their collaborative designs for living room furniture won first prize in 1940.
The use of avant-garde artists and industrial designers, as well as new technological developments, allowed designers to create increasingly organic designs. This combined with the perception that rounded shapes were more comfortable and welcoming led to a proliferation of biomorphic furniture designs. The Eameses’ 1955 rosewood and leather lounge chair and footstool, originally a birthday present for film director Billy Wilder, is one of their most celebrated designs.
Saarinen’s 1946 Womb chair and 1956 Tulip chair are also examples of biomorphic furniture design. Biomorphic forms also featured in his architectural projects of the period, including the TWA airline building at JFK Airport in New York. Organic Shapes in European Design In Italy, biomorphic design played a major role in post-war reconstruction.
After the rationalist style was associated with Fascism, designers turned to organic forms. Influenced by American design, Surrealism, and the sculptures of Moore and Arp, a distinctive organic aesthetic emerged in industrial design, interior design, and furniture. Carlo Mollino’s bentwood and metal furniture exemplifies this trend. Conclusion The use of biomorphic forms in art and design has been a significant trend throughout the 20th century, with prominent artists and designers incorporating organic shapes and natural forms into their work. From the early pioneers of the movement to the modern-day, the appeal of biomorphic forms continues to inspire and influence contemporary design.
Talent vs. Education
Catalyzed by the influx of technological advances and the rise of social media, the modern art
world has accepted an augmented level of competition. The criteria by which an artist is evaluated has
become contingent on the prestige of their artistic education and affiliation, and as a result, young artists
are forced to decline education at universities that may be more individually rewarding, choosing instead
to attend those with higher rankings. Students who select Ivy League universities can be motivated by a
desperation to be recognized, leading some to sacrifice their own creative integrity.
With an education from a top-ranked university, an artist is equipped with the necessary resources
and contacts to foster success; professional opportunities and gallery exhibitions are anticipated and
extended with the mere disclosure of what is considered an impressive alma mater. However, these artists,
some of whom are consumed by fulfilling the expectations set forth by the art community, may be more
susceptible to create artwork that fails to provide authenticity, depict artistic identity, or reveal a genuine
narrative. As more and more talented artists are overlooked in favor of those who have been influenced by
the academia, the art world is faced with the threat of becoming stagnant and homogenous. This exposes
an imperative inquiry pertaining to art: is the presumption of technique or skill based on the successes of
falsified Ivy League gods sufficient criteria for evaluating an artist?
The answer is unambiguous: No. Not only is the presumption inadequate, but the means of
assessment is deficient, as technique and artistry represent only the rudimentary form of examination.
Credible appraisal mandates that creativity and narrative also be considered as factors in evaluation.
When artists are assessed based on undeserved reputations that are founded on aristocratic ideals, art
becomes an unemotional, generalized experience wherein nothing substantial is communicated.
Consumers are led to believe that their instincts are uncultivated and inaccurate; they are told that
their trust should lie in the hands of the experts, of the gallery. However, when unqualified artwork is
populating the walls of galleries nationwide, the responsibility of preserving legitimacy in art falls on the
audience. Rather than accepting the voices that tell you what to appreciate, listen to the artwork and what
it is trying to say. Reflect on the individual impressions derived from a piece and on the emotions you
experience while standing before it. Hold the galleries to a higher standard and elevate the artists whom
deserve recognition.
By Kaley Weil
SPOTLIGHT: INTERVIEW WITH JAMES MCARTHUR COLE
James McArthur Cole is a photographer with a passion for world travel. Through his lens, this artist captures the profound experiences which occur along his journey. He is particularly fascinated by the architectural landscape and the people who occupy it. His own emotions also play a significant role in the art-making progress; the feelings he experiences during his encounters with his surroundings make his work come alive.
James has exhibited his work at a number of galleries and art fairs. In 2016, he was featured as part of Sotheby’s Realty’s New Artist Series, at an exhibition hosted by Bentley and Maserati in Nashville. James is the newest addition to ARTSPACE8’s roster of artists, and will kick things off at the gallery with a solo exhibition of new works entitled, “DILAPIDATED BEAUTY: Romancing the Cuban Aesthetic.”
Join us at ARTSPACE8 for the opening reception on June 24 from 7-9 PM, or visit the gallery in the subsequent weeks to view James’ work. In the meantime, read more about the artist in the following exclusive interview, conducted at the gallery, in which we spoke to James about his work and the inspiration behind it.
ARTSPACE8: Do you have a favorite photograph from among your collections?
James McArthur Cole: I’m always asked this question. Until recently, after listening to a friend of mine—an accomplished, six-time Pulitzer Prize-nominated photographer, Val Mazzenga—speak, I wasn’t sure what my answer was. Then it hit me, after he was asked this very question: his simple answer was “I haven’t taken it yet”; this made me think about why the answer to this question was so hard for me to come by and it really allowed me to get in touch with who I am as an artist and to know that I am still in pursuit of that perfect image. So my simple answer is: I haven’t taken it it yet.
AS8: Are there elements which allow you to more effectively capture the landscape? Does it depend on your emotion? Or perhaps music? Or people?
JMC: Every photo I take is influenced by my emotional side. There has to be a story in the scene for me to take it. Because without the “story,” there will be little possibility for the audience to embrace the image, connect with the image, and make it their own. This brings to mind a picture I took in London—I always wanted to take a photo of a London phone booth; during one of my travels I got a chance to do just that. After months of not knowing what to do with the photo once I edited it, I decided to display it at a local art show. This gentleman stopped by my booth and looked at the picture. Then he left. Then he came back. He looked at the picture again with extreme purpose then he left again. This happened several times. Finally I asked him what was drawing him to the photo of the London phone booth and he finally shared with my wife and I that his nineteen-year-old son had died of cancer, and his son’s last wish was to go to London and take a picture in a phone booth. As he told the story he began to weep what were actually tears of joy, because for him it was a good memory. Me, him and my wife all hugged and cried together. He purchased that photo that day and hung it in his home. I haven’t shown it or sold it since. That was why I photographed that image. That photo was never for me. It was for him. A stranger that I would meet two years after I took that photo. If I can’t touch someone with my photography, then an image is just not worth taking.
AS8: We see you love to explore with your camera; sometimes you capture different angles, perspectives and modify hue and saturation. Can you tell us more about the process?
JMC: It is influenced by my previous practice with sketches and paintings. As a young artist I wanted to capture that reality in my work, so gradually I moved on from working in representative art to photography. Yet because of my early artistic influences, when viewers see my work they often ask, “is this a painting or a photograph?”
AS8: There’s a deep history behind the culture and the people in Cuba. Can you tell us more about the intimate interactions with the people?
JMC: I always read about the history of places I plan to visit. My first visit to Cuba I expected sadness, considering the poverty and the downside of the nation’s economics, but in reality it was the total opposite of what I expected. They were the most vibrant, humble and energetic people I have ever met. People in the streets would approach me as if we were friends for a long time. For some of them—me being an African American—they felt a certain connection to me. There were several moments that the locals would say, “you are me”. I tried my hardest to become part of whatever scene I encountered, immersing myself in the culture. I was not there to just photograph or steal a moment; I was there to create a moment with my interactions with the people and to photograph honest moments.
AS8: What would you consider to be the highlight of the experience for you? The vibrant architecture? Or the people/culture itself?
JMC: Even though I call myself an architectural landscape photographer, for me, it’s not always about the architecture. As I roamed the streets of Cuba I didn’t carry with me an agenda. I simply wanted to capture different aspects of the “beauty” that I encountered as I went along my journey. I truly wanted to be involved in the cultural and artistic aspects of Cuba and to document real life.
AS8: Was there a difficult situation you encountered during your trip to Cuba?
JMC: Not really. It is the safest city I have ever encountered. Very little crime despite its economic situation.
AS8: How often do you travel?
JMC: 4-5 times a year. I love to travel to small towns in other countries. I am always amazed by the hospitality and kindness of the citizens whenever I travel. I’m always full of questions and I’m very curious. I genuinely love people. Meeting new people and learning about different cultures. It’s why I travel.
AS8: Is there a hobby or work besides photography?
JMC: I like video games, it’s my outlet from my never-ending artistic thoughts. But my other real loves—outside photography—are music and fashion. In my opinion, music, fashion and photography are all like poetry. They flow with purpose.
AS8: Lastly, what camera do you favor most and why?
JMC: My Nikon D810. Even though I have many others, I feel the most comfortable with this camera. We create great rhythm and harmony together. It’s a friend of mine.
Spotlight: Interview with Ilie Vaduva
by Sam White
Ilie Vaduva is a Romanian-born painter who specializes in combining a baroque painting style with surreal, psychological themes and ideas. In his upcoming show at Artspace 8, entitled “Ego vs Alter Ego”, Vaduva explores a confrontation between two entities within the same mind through dramatized encounters between chess pieces. Artspace 8 had a chance to sit down with Vaduva and ask some questions about his work and the show.
Artspace 8: What drew you to art and painting?
Ile Vaduva: I have been drawing since an early age and I started going to art classes when I was 8.
AS8: Describe your creative process? How does a work go from start to finish?
IV: I build the concept first and I try to do many paintings with that idea. Then I do sketches and the next part is my interpretation of shapes where I build structures with oversized lines and sculptural planes and I work with transparent layers of colors.
AS8: What drew you to this type of painting technique?
IV: I work in monochrome where the focus point is made with light or dark colors and I like to create a strong contrast between light and dark.
AS8: You have described your work as being surrealist. How is your work surrealist?
IV: My concept is about a chess game played between human chess pieces and regular chess pieces or a combo of the two that creates the surrealism.
AS8: Why do you use chess pieces in these works?
IV: The title of the whole series is “Ego vs Alter Ego” or ” Ego reflexion” so I mirrored chess pieces and each painting is actually an illustration of the game. I picked chess pieces just for this concept .
AS8: What are some of your other interests or hobbies other then painting?
IV: I like to do old fashion type of frames or furniture which is a more relaxing type of work but still close to the art.
Spotlight: Interview with photographer, Jimmy Fishbein
by Ariel Matluck
Jimmy Fishbein is a Chicago-based photographer who specializes in portraiture. He has shot for many major publications, such as TIME, Newsweek and Forbes, and photographed some of the most recognizable names in the world, from Barack Obama to Bon Jovi. Jimmy recently spoke to ARTSPACE 8 about his creative process, offering a look behind-the-scenes of his powerful images. His work is currently on view at the gallery.
Why photography?
I picked it up when I was in college and I kind of just fell in love with the magic of it. I got some good feedback and decided to take some classes and fell in love with the magic of creating images. My first class was a darkroom class – that’s where I became impressed with the art, and so I continued to take classes and shoot.
You do both commercial and personal projects – are there certain elements that change in one versus the other?
Personal projects aren’t directed by anybody except for me, so I don’t have to follow any specific directions, and it’s not for marketing somebody else’s vision, or a company’s vision. It’s strictly a project that I came up with, that’s unique, so that’s the main difference.
Can you describe your process during a shoot, from beginning to end?
Well first it needs to be thought out, so there is preparation involved in producing an image. To produce it, you need to deal with technical stuff, lighting, environment and people. And then the post-production is just trying to get the image as close as possible to what my initial vision was. But sometimes, that can change at the end if I see something different in the image, and I might take it in a different direction.
Some of your work is based around controversial subjects, such as reactions to the Trump presidency, LGBTQ movements and life in prison. What messages do you hope viewers take away from these works? Do you consider yourself an activist?
No, I would not consider myself an activist. I don’t really hope for anybody to get anything out of what I shoot because it’s strictly for myself. I never really think about it like that – I’m not shooting the personal [projects] for other people, I’m just shooting them for myself to learn more about the subjects.
How do you interact with your subjects to get the results you want in a photograph?
I think the most important thing is just being human, and understanding that some people might be a little less comfortable in front of the camera. At theend of the day, we all have very similar experiences, so there’s a way to connect with somebody – I don’t know if its psychologically, but at the end of the day, we all have similar experiences, so it’s a matter of finding a way to associate yourself with that other person, to make them as comfortable as possible.
What do you find most difficult about your career?
Being an artist is different from being a business person, so I would say the most difficult thing has been learning how to run a business while being an artist, or a creative person. It’s a running experience on a daily level.
Where do you look for inspiration?
[I am inspired by] current events and things that are happening around me on a daily basis. That’s why the LGBT [movements] and the protests [interest me]. Those are [subjects] that I want to learn more about.
I you weren’t a photographer, you would be ____?
A world-traveler.
Art and Psychology
by Julie Napientek
While art and psychology are two distinct disciplines, they have much in common, and can be used to help explain or interpret the other, as both are concerned with the power of images and their symbolic meaning, with the process of creativity, and with history. A psychoanalytic approach to art deals primarily with the unconscious significance of art, and involves not just the art itself, but also the artist, the viewer, and the cultural context. Unsurprisingly therefore, many major tenants of psychology can be seen in the art collection at Artspace 8. Incorporating ideas from Freud to Jung and artwork from the photorealistic to the abstract, this blog post will act as a guided virtual tour around the gallery and demonstrate how psychology permeates the art world, from artist to subject to viewer. Specifically, we will focus here on the influence of social psychology, and later, explore individual psychoanalysis in a separate post.
Let us begin with an artist who openly cites the ideas of one of psychology’s biggest names as one of his major influences. As a philosophy and religious studies major at Indiana University, Jordan Scott quickly became aware of Swiss psychiatrist Carl Jung, who worked in the late 19th and early 20th centuries. Jung was the great mind behind some of the best known psychological concepts, including the collective unconscious, which particularly intrigued Jordan Scott. Jung thought up the idea of the collective unconscious after studying mythologies and stories from cultures around the globe, and noticed that many of the same character types and story lines repeatedly existed in the mythologies of unrelated cultures independent of each other the world over. Jung therefore concluded that these stories and characters are innate to the human mind, and are in fact being tapped from a collective unconscious memory that all of humanity shares. The collective unconscious then, can be thought of as the soul of humanity writ large, and individuals can give meaning to it by living out as their unique experiences.
Jordan Scott incorporates Jung and the collective unconscious into his art in a very literal way. A close inspection of one of his stamp collages, such as Leelanau, reveals the differences, imperfections and variation of each stamp, yet the resin holds all the individuals stamps into and assembled collective. Each stamp represents an individual story, and the accumulation of these stamps into a group represents the web of larger human life and the cultural context to which it was connected. In Leelanau, we can see the individual stamps coming together to create a discernible colorful pattern of yellow, green, and blue, as how individual people come together to create cultural patterns. However, in Leelanau, there are two distinct groupings, one with stamps aligned horizontally and the other aligned vertically. This can be thought of as two distinct and unrelated cultures, however it can also be seen that these two groupings have very similar visual patterns of yellow, green, and blue. Though the direction (or the culture) is different, the emerging pattern is the same. These patterns and the resin holding the stamps all firmly in place together is the collective unconscious, which similarly holds all of humanity’s shared experiences in place, completing Scott’s visual metaphor.
A specific example of Jung and the collective unconscious can be seen in Polish artist Dariusz Labuzek’s painting, Three Muses. As mentioned above, part of Jung’s discovery and development of the collective unconscious was shaped the repetition of character types he traced throughout different culture’s mythologies. These characters found in seemingly unrelated cases across cultures are known as archetypes, and they are the basic forms that reveal shared roles among cultures. Jung compiled an expanding list of these characters, known as Jungian archetypes, which he believed were universal characters inherited from the collective unconscious and transformed from the expression of the individual culture.
Labuzek’s painting, as the title indicates, features three muses as its subject. The muses appear most famously as divine beings in ancient Greek and Roman mythology, women who inspire the great acts of mortals, particularly in the realm of the arts. Of course the muse archetype can be found in other cultural stories; though they may not necessarily be goddesses, there are still characters (often women) that inspire the great deeds of others. The figures in Labuzek’s painting are not immediately recognizable as muses, and therefore it is significant that he consciously gave it the title he did, forcing the viewer to draw meaning from the knowledge provided by collective unconscious, and thereby find meaning in the painting.
Rory Coyne’s painting Reds visualizes yet another archetype: the human-animal hybrid. Such hybrids can be found in the literature and art of cultures around the world, from Japan to India to ancient Greece and, most famously, as the gods of ancient Egypt. The role these hybrid characters play can range from villain to divine hero, depending on the culture. In Reds, Coyne has painted the head of a bird on the body of a woman, a hybrid which has mythological precedent. In ancient Greek mythology, harpies and sirens have been characterized as part woman, part bird, but they take on a decidedly negative characterization, ugly creatures who kill or lure people, particularly men, to their deaths. Conversely, Coyne’s hybrid features a strong, sensual woman’s body under fierce yet thoughtful bird’s head. This depiction not only reverses the physical hybridization (harpies and sirens usually have a woman’s head on a bird’s body), and by doing so Coyne reverses the characterization from a negative to a positive. Such a phenomenon goes to exemplify that while the same archetypical characters can be drawn from the collective unconscious, their individual manifestations can result in different interpretations.
In addition to Coyne’s incorporation of archetypes and the collective unconscious, Reds is also painted in an artistic style that is very closely aligned with psychology: surrealism. Surrealism is an artistic movement started in the 1920’s which was concerned with drawing out the creative potential of the unconscious mind, placing particular emphasis on the world of dreams. In dreams, we routinely see absurd things that could never occur in the real world, such as a woman with the head of a bird. The Surrealists were highly influenced by Freudian dream theory, in which dreams are seen as a manifestation of unconscious desire. Coyne has professed himself to be an admirer of strong women, but I’m sure Freud would have a lot to say about this image in regards to Coyne’s unconscious desire and his own ideas on the Oedipus complex.
Ciro Palumbo’s Verso un Sogno is a great example of classic Surrealism. Literally translating to “Towards a Dream”, this painting depicts a stone ship loaded with trees, large rocks, and a couple simple buildings floating in the night sky towards a cloud-shrouded moon. Similar iconography is found in Palumbo’s painting, Misiere, which shows a craft seemingly straight out of Leonardo da Vinci’s sketchbook flying in the sky above a floating whale, while a large, pale moon (or perhaps another planet?) looks on. Of course, we do not see flying whales or stone boats cruising through space in the real world, so how do we understand these images? According to Freud, when a desire cannot manifest consciously, it takes the form of an absurdity, a distortion of reality that we see in dreams. Perhaps Palumbo is feeling weighed down or trapped, and the imagery of heavy objects floating with ease represents his desire for freedom, to separate himself from his restraints in life. Like dreams, surrealist art calls for interpretation, becoming a barrier to distinct meaning, but still holding the promise of it. Therefore, Surrealist art such as Palumbo’s will forever have a sense of mystery, its true meaning always tantalizingly out of reach.
The power of the unconscious mind does not only have an influence over Western art, but has a very strong connection to Eastern art as well. For example, the artwork of Martin Giesse bears a strong resemblance to a traditional mandala. A mandala is a spiritual and ritual symbol in Hinduism and Buddhism, and is meant to be a visual map or chart of the cosmos. Mandalas are meditative tools which are used by practitioners as an aid for spiritual guidance and trance induction. Essentially, by meditating on the visual appearance and symbolic meaning of the mandala, the practitioner can access progressively deeper levels of the unconscious, and ultimately, achieve a sense of oneness with the cosmos. Giesse’s paintings, such as Artifact 41, take on the basic form of a mandala, that of a patterned circle inside of square, and similarly, the repetition of design draws the viewer in to a mood of contemplation.
However, the finished product is not the only way mandalas can help with meditation. Returning to our friend Carl Jung, he concluded that the act of constructing a mandala can be equally as effective in accessing the unconscious mind. The repetitive process of laying out the same pattern helps to focus in on the present moment and clear the mind of all outside thoughts or distractions. This, Jung believed, has a re-balancing effect on the psyche, and can result in a more stabilized and better integrated self. Certainly this is something with which Jordan Scott agrees, as the construction of his stamp collages take a great amount of patience and concentration on his work creating patterns in the present. In fact, many of his collages, especially the smaller ones such as Navajo end up taking on similar visual qualities as mandalas, thereby reinforcing the connection between mandalas and meditative experience.
Thus we have come full circle, beginning and ending or artistic and psychological journey in this blog post with explanations and interpretations of Jordan Scott’s art and Carl Jung’s psychological concepts. While we have barely even begun to scratch the surface on the connection between the two disciplines, this focus on psychology in a social context has served to highlight some of the depth of the artwork in Artspace 8’s collection. This connection will be reiterated and strengthened in the next post, examining individual psychoanalysis in paintings at Artspace 8.
Jordan Scott, An Artist You Should Know…
Artist, Jordan Scott, achieves visual enlightenment with his contemplative pieces created from used U.S. postage and a meditative application process. He offers a glimpse into his creative process and inspiration in a recent interview with ARTSPACE 8.
ARTSPACE 8: AS8
Jordan Scott: JS
AS8: What/who inspired you to be an artist? At what age?
JS: My father was my first inspiration. He was a sculptor and a painter. From the age of four or five, I remember working on sketches with him, particularly of faces and my own left hand, and spending lots of time in his studio, which was in our home. My interest grew from there.
AS8: What are three words that describe your work?
JS: 1) Contemporary 2) Meditative/Contemplative 3) Compelling
AS8: Explain your creative process. Do you have a special routine to get your process started?
JS: My creative process is simple: I get myself to the studio regardless of how I’m feeling or any lack of motivation. I get right to work. I don’t wait for inspiration. Inspiration comes from the work itself and inspiration (the muses) only respects a strong work ethic and perseverance. Inspiration shows up for those who cut through the resistance and just do it.
Another way of putting it is: I go to my studio to work on average five days a week. Fortunately, I have also learned how to get “inspired” and let my process flow five days a week as well. There is no other way if you are serious about your work and career. I recommend every artist read “The War of Art” by Steven Pressfield.
AS8: What sources do you look to for inspiration?
JS: I look everywhere, including magazine images, photography, places I visit, landscapes, textiles, mosaics, advertisements, building facades, flooring, clothing, mathematics (phi/the golden mean) and other artist’s work.
AS8: Describe a typical day in your life as an artist.
JS: I don’t really have a typical day but I split my week about 70/30 between studio work and what I refer to as “back office” work. The 70% is the actual creating in the studio and the “back office” includes things such as gallery communications, website updates, social media posts, newsletter, administrative tasks and locating and procuring my materials.
AS8: What’s the most important item in your studio?
JS: The most important thing in my studio as far as materials go is the collage elements themselves (currently postage stamps) that I have collected for years. As far as supporting my art, I’d have to say my stereo and my coffee maker are tied for first place!
AS8: Do you listen to music while you work? If so, what are you listening to?
JS: Yes, I listen to music constantly. My listening preferences vary greatly. For example, electronica and ambient music, like Brian Eno and Steve Roach, are a big part of my listening library. I also love country in the vein of Johnny Cash and everything Bob Dylan has ever recorded. Luna, Dean & Britta (and both of their solo albums), Tom Waits and Nick Cave are among my favorites. However, every Sunday I usually listen to classical music. I call it “Symphony Sunday” and Beethoven’s symphonies often echo in the halls of Cornelia Arts Building.
AS8: What are your other interests or hobbies?
JS: My major interests are photography, martial arts, movies and reading. My kindle is my favorite possession (next to my studio stereo and coffee maker of course).
AS8: What project(s) are you currently working on?
JS: Currently, I’m working on a new movie screenplay, an action/disaster film. I’m also teaching beginner digital photography workshops and on-going classes at several art centers, including The Art Center in Highland Park and Lillstreet Art Center in Chicago.
AS8: What was your most challenging commission?
JS: My most challenging commission came at the end of 2015; a short time after Judy Saslow retired and closed her gallery and a month or so before ARTSPACE 8 started representing me. I was homeless, so to speak, without a Chicago gallery and it was a disconcerting feeling. Fortunately, during that time I was approached by a Chicago real estate firm, Kiser Group, to do an architecturally based cityscape for their offices. My final design included the Chicago skyline, the 3-6 flat residential buildings that they specialize in and their logo subtly placed on a building exterior. It was a highly complex piece and forced me to develop new techniques and processes to create it. It really helped to keep me motivated and focused during that time of searching for a new Chicago gallery that was a good fit for me. (see photos of cityscape: Kiser and details)
AS8: What is your most prized accomplishment as an artist?
JS: Although it was a long time ago, one of my most prized accomplishments was winning “Best of Show” at the Beverly Art Center. It really motivated me and gave me a boost of confidence in the direction my art was taking, particularly given the high level of talented artists included in the show. The other accomplishment that stands out was being chosen as the solo artist for the grand opening exhibition of Wright Gallery in Northport Michigan many years ago.
Come and visit Jordan Scott’s work at ARTSPACE 8, 900 N. Michigan Ave. Chicago, IL, Levels 3 & 4.
SPOTLIGHT: Interview with artist, Lexygius Calip
Preparing for Solstice: A Summer Collective, ARTSPACE 8 sat down with artist Lexygius Calip whose work is featured in the exhibition that opens Friday, June 24.
ARTSPACE 8: AS8
Lexygius Calip: LC
AS8: What/who inspired you to be an artist? At what age?
LC: My grandmother. I was her precious grandbaby boy. I can recall a vivid memory of my grandmother asking me what I want to be when I grow up and I said, “I am going to be an artist,” and she said “Oh, no doubt you will be!” That time she was greatly admiring my three dimensional drawings of a water buffalo. I was 5 years old.
AS8: What are three words that describe your work?
LC: Conceptual, Experimental, and Contemporary.
AS8: Explain your creative process. Do you have a special routine to get your process started?
LC: My practice is process oriented, reactionary, exploratory, and experimental. I value my thought process which is an integral part of my art making. Of course, the discipline of conceptualizing and practicing art as often as I can always is a good exercise. It draws a fine line between what is acceptable and what is not with regard to the standards I set for myself.
AS8: What sources do you look to for inspiration?
LC: The most influential aspect and source of subject that drives my work on its course and direction are my personal occurrences. Yes, nostalgia has been considered a disease and a modern day cliché, yet it shapes everyone’s own history and how we contribute to society and culture through art that we make. I romanticize the idea of something that used to be present, but not physically there anymore; the void, notion of uncertainty, and the undesired and overlooked truth that life is random. I always try to make work that engages critical thinking.
AS8: Describe a typical day in your life as an artist.
LC: Lots of coffee, cigarettes, making art, and stimulating conversations about life and art with my favorite people.
AS8: What’s the most important item in your studio?
LC: A coffee mug. But in my case my studio is where I am physically present at any given moment. It may be in a studio space to make physical work, or in front of a computer, an empty basement for a performance, in editing software for video and sound, etc. I try not to define space in order to make work in my practice.
AS8: Do you listen to music while you work? If so, what are you listening to?
LC: It is very temperamental; I love listening to the sound of graphite scratching the surface of the paper (It is very calming and meditative), most of the time with music and sound that suits my sensibilities, always something that has substance and depth. I sometimes listen to something that is dear and meaningful to me.
AS8: What are your other interests or hobbies?
LC: Everything that I do everyday interests me. Whether it is productive or just doing nothing at all, for what falls in my daily practice is pretty much what I love doing anyway. And not knowing what to do next makes my days more interesting.
AS8: What project(s) are you currently working on?
LC: Currently working on sound, video, film, performance, paintings, drawings, and installations. I have curatorial projects lined up and collaborative projects with peers that share common and similar ideas and interests.
AS8: What was your most challenging commission?
LC: I greatly consider and make sure that everything I do is always challenging. It is hard to identify in my case, since my practice is multi-disciplinary. I do appreciate and set challenging projects that I think will push my practice and my art further in its own accord.
AS8: What is your most prized accomplishment as an artist?
LC: Well, I am and still get to make art and I think that says enough.
Palimpsest and Artist, Fidel Rodriguez
Palimpsest shows evidence of change over time. Fidel Rodriguez uses his paintings to show a re-birth of the past, the heart, and the mind. Fidel asks the questions, “How many times did you recover? How many times did you overcome?” His process involves erasing and layering the paint multiple times until he is satisfied with the result. Fidel has produced five red-tinted paintings this year in his studio that’s attached to Artspace 8. I sat down with the artist Fidel Rodriguez, owner of Artspace 8, share with you a better understanding of his work.
Artspace 8 Interviewer, Allie Fish: AS8
Artist, Fidel Rodriguez: FR
AS8: How would you describe your most recent work?
FR: “That blue one is called ‘Blooming In the Dark,’ meaning not every time is dark. It means that not every time something that seems to be bad happens, it’s bad. There’s always something that makes you stronger and makes you grow, and that’s the beauty of challenges and failures and difficulties. So, in that case, even though it’s dark, you see a lot of stains, you see a lot of dripping. From the middle part, where there’s a lot of colors blooming, there are a lot of letters that are on top of each other in different degrees of transparency, and they drip. With the pain, there’s also happiness, and there’s also joy.”
AS8:How do you split the canvas into different parts?
FR: “I split it into three parts. The psychological, meaning the mind and heaven is the top part. The middle part is more like your heart, your internal feeling, your chest. The bottom is like your feet, the ground, the earth, your culture or background, and how you are raised. Then on top of all three of them is all of this writing that erase and I wash off, and I re-rewrite. And I say, okay, let’s reinvent each other again and again. That’s why it’s called palimpsest.”
AS8:Why do you use letters in your work?
FR: “Sometimes, I use the letters just to represent the communication that has always existed in history and art history. Art is communication, so the letters are more like random signs and symbols that evoke how we learn from the beginning, from being kids. It’s a very innocent way of saying, okay, let’s play again, like when we didn’t know how to write the alphabet. I also use numbers to show patterns. Patterns repeat in your life, but only when there are lessons to be learned in the future. Other times there’s scriptures that I put over, similar to handwriting. I cover them on top of each other to a point that you can’t read them anymore, in an explanation of how we write, grow, and at what part of maturity we are.”
SPOTLIGHT: Interview with Italian portrait painter Silvio Porzionato
Italian painter, Silvio Porzionato, is inspired by the world around him and the people who happen (by chance) to walk into his life. Some people come into focus more, and when they do, Silvio is fascinated by their individualistic qualities: their faces, their bodies, their lives. The results are astounding, large-scale portraits of friends and acquaintances that offer a view into their souls. Ahead of the exhibition E LA VITA / ES LA VIDA (IT’S LIFE), which opens April 8 (and runs through May 9), Silvio recently spoke with ARTSPACE 8 about his Indian summer and the importance of silence.
AS8: How would you describe your work in three words?
SP: Dynamic, instinctive, alive.
AS8: Explain your creative process. Do you have a special routine to get your process started?
SP: I need to look at the world to feel inspired. The only form of routine I practice is [when I paint], during the painting process. With regard to the project itself, or the creative stimulus, I breathe [life] into many different things.
AS8: What sources do you look to for inspiration?
SP: I [am] inspired by people: [their] faces, [their] bodies. [It is] as if I can not avoid it. Some people, [I] just look at them, and I want to portray them. And then, I like to be inspired by other artists and their exhibitions.
AS8: What / who inspired you to be an artist? At what age?
SP: It’s a very long story. I was 32, and I was in Calcutta. An Indian painter, very old, look[ed] at my face, [and] told me, “You are a painter.” But, I had never painted before! The same day I started.
AS8: What’s the most important item in your studio?
SP: Light!
AS8: Do you listen to music while you work?
SP: It depends. I listen to everything. Before starting I [have to] decide to paint. But sometimes I also need silence.
AS8: Describe a typical day in your life as an artist.
SP: I like to wake up [early] at 7 am, and I paint. Once finished, I stare at the result for hours.
AS8: What were some of your most challenging commissions?
SP: [The most challenging project] was an installation of 100 paintings, [a series] that depict[ed] 100 faces from the ages of 0 to 99 years, that I was commissioned by from the Castle of Calatabiano, by the Museo Arte Contemporanea Sicilia.
AS8: Do you have any other special interests or hobbies?
SP: No special hobby: maybe cooking. Eating, indeed!
AS8: Are you currently working on any new projects?
SP: The only project that I am working on right now is to paint in the most free way that I can. Maybe I’m experiencing a period of “selfish painting”, [but] I am inspired by people I see and meet on the street. If I see a face I like, I can not help but stop, and ask [them] to pose for me.
AS8: What is your most prized accomplishment as an artist?
SP: Having my art shown at the Venice Biennale.
AS8: Why should collectors invest in figurative art?
SP: I am often asked this question. Most recently, a collector asked me the same question and, my response was, “because it is the most understandable”.
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