Bruce Wilcox, Denver
“As we move to the end of the Piscean Age, the dynamics
of living creatively are changing. This is because the Aquarian
Age isn't about the old patterns of self-denial and self-sacrifice
of the last 2000 years. This next Age is about each of us
recognizing the Inner Fire of Creativity at the core of our
being, and living and creating very different life experiences
by being focused enough to make the connections to spirit."
children to get through their childhood and out of it without
shutting down their creativity or their inner spiritual connections.
Help adults to reconnect to their creativity if it is in your
realm to do so. Help yourself by doing whatever you need to
do to get clear of all cultural suggestions that you cannot
succeed at your Art. Never give up. By fully connecting to
our Fire Nature and Passion for Life, all things are possible.”
get a bi-weekly letter from Robert Genn . I thought I would
share. This is part of what I want to say. Art is accessible
by opening our senses to what is around us. We don't need to
rely on the $ of New York to tell us what improves our life.
has always been the conscience of civilizations. As we visit
an Iranian sculptor, an Irish painter or an Inuit print-maker,
we see that our branch of civilization is really part of a
world-wide project which happens to draw on the same spirit.
Paris, New York or Rome are no longer the temples or the homes
of this understanding. Home is where the spirit is. We are
our own priests and priestesses.”
“In our age the common religious perception should be
the consciousness of our brotherhood and sisterhood. Our well-being
lies in this union. Art should transform this perception into
ABSTRACT WITHOUT THE STATIC
- by Lynne Taetzsch
(excerpted from EXHIBIT MAGAZINE, May-June, 1986)
a non-objective painter who does not start with any "subject"
except the painting itself, it always bothers me when people
immediately try to pin down a "realistic" image
in my paintings. It's not that "seeing things" in
abstract paintings is so terrible, even if the artist didn't
put them there. It's that you miss the real view if you spend
all your energy trying to turn the painting into something
"recognizable" like a figure or flower or landscape.
the "Real" View?
What do you actually see when you look at the painting? Colors,
shapes, lines, spaces, and textures are the physical elements
which combine to make the total image. A selection of dark,
heavy shapes may impress you as somber--light, airy images
as mystical--balanced, temperate forms as peaceful.
color, and form have meaning in and of themselves. We react
emotionally to these elements even if they create no recognizable
object for us to hang on to. Thus, a painting of ragged, angular
forms in deep reds will evoke an entirely different feeling
from one in soft curves of yellow and white.
handling of space--or the illusion of space--is another element
in the artist's toolbox. Are you drawn into a world of three-dimensional
space stretching beyond the framework of the painting, as
you might be in a landscape? Or are you kept visually taut,
as a skater on a pond, skimming across a two-dimensional surface?
The impression of depth, perspective, airiness, solidity,
and other spatial relations are created and controlled by
Guides the Eye
Have you ever looked at a painting or photograph and felt
it was "off balance"? One of the big differences
between amateur snapshots and professional photographs is
the poor composition of many snapshots. Perhaps all the action
is centered on the left side of the photo, with nothing but
empty space on the right. It gives you the feeling it's lopsided.
(also called "design") is one of the first things
art students are taught. In a nutshell, the idea is to have
a balance of visual elements without making the weight so
balanced that the art becomes boring. If everything on the
left is exactly equal to the right, and the top to the bottom,
you may have balance, but you lose interest.
the composition right--that is, balancing the elements of
color, line, and shape while maintaining a dynamic tension--is
a major preoccupation of the painter. If you add a blue brushstroke
to the bottom left-hand corner, for example, you may have
to change something in the top right-hand corner because of
it. You can't concentrate on one section at a time, ignoring
the rest of the canvas, and expect to end up with a composition
Should You Do When Confronted With An Abstract Painting?
When you look at an abstract painting, don't start by searching
for some identifiable object from your world. Instead, try
to enter the world the artist created.
Relax. Let your eye leisurely wander over the painting's surface.
Let your heart react to its colors, shapes, and textures.
Let yourself be drawn into the illusion of its spaces, the
action of its lines, the mood of its atmosphere.
back and look at the painting from a distance. What is its
impact as you approach it? Move up close and explore the intricacies
of brushstrokes, paint thicknesses and compositional details.
See how the parts are woven together to form the whole.
the painting time. No artwork can be understood and appreciated
in a ten second glance. Good art should grow on you, becoming
more interesting and more enjoyable to look at as you live
may still "see" things in abstract paintings--finding
birds and trees and animals hidden in the shapes. There's
nothing wrong with this. But by opening your eyes to the possibilities
of the world the artist created, you may see more than you
ever expected to see in abstract art.