Artists - The need to change
Deryk Houston
As an artist one is always challenged to explore new ideas. I have
watched a number of well known artist get stuck and are bankrupt for
new ideas. They have painted themselves into a corner.
A good example of this, in my opinion, is Canadian artist Tony Onley.
Actually, I feel that Mr. Onley is also one of the few artists who could
burst out of this dilemma with a bit of effort. I like his work because
it is very strong but it is obvious, in my opinion, that he has hit the
brick wall . He needs to sit back and get out of the commercial loop of
the gallery circuit and take the time to take some real gambles with his
work. I mentioned to him at a recent art show that I would like to see
him explore colour and his face went purple. He said it was not the
first time someone had said this and it was obvious that he did not like
the criticism. My main point was that he needs to expand himself and
that I think he is very capable of doing so. I do see him throwing in
some colour here and there but I think he is merely tweaking a style
that has a limited direction. In my humble opinion he needs to have the
courage to abandon this "thing" that works very well for him and take a
new direction completely.
Jack Shadbolt, another Canadian artist, is in my opinion, an excellent
example of someone who is willing to take chances and as a result one
sees a great range in his work.
I am a Canadian artist and I have always tried to seek something new in
myself and my work.
I am in the process of exploring my childhood memories as a little boy
on a farm in Scotland.
I am also relating these memories to my life today and to my own
children. The painting "Boy with Apples" is about a little boy with a
basket of stolen apples from an orchard. The background has some images
of the judgment from the ceiling of the Sistine Chapel. There is a
relationship between the little boy of yesterday in the painting and
some of the troubles the same boy faces today. The little boy in the
painting is a brother of mine. We do not talk to each other.
In this painting and also in this series, I am exploring some of the
betrayal I feel from my family. I did not get the support I expected
when I stood up for what was right. Even when it meant the question of
the safety of children.
I have been deeply hurt a lack of understanding. I now know why no one
speaks up or comes forward with information. It seems that it is still a
sin to break the code of silence.
I have been found guilty of "interfering" in something that is non of my
business.
I have tried to explain to the family that I did not make the decision
to come forward on my own, that I sought the help of a number of
professionals such as social workers, lawyers, and also a Supreme court
Judge, but the replt I got back from that was a big " These so called
professionals, who do they think they are?".
So, as a result of this backlash, I find myself looking at old black and
white photos of happier family relationships and trying to make sense of
it all.
I must say that I am very lucky to have a wonderful understanding wife
and children and I this series of new works has lifted my spirits a
great deal.
Please take a look at my new paintings at
http://coastnet.com/dhouston/
William DeRaymond
they are fine, and will go back to look at them when I'm done with this. I would just
like to say that the issues you are talking about have nothing to do with painting,
hundreds if not thousands of artists let alone folks from other vocations have similar
problems. Always it comes down to painting and if you don't understand the
relationship between consciousness and art, regardless of how profound or 'serious a
story line' the subject matter is, your lack of understanding of painting will show
through. It would almost seem like some abstract expressionism might prove
therapeutic, still that wouldn't make a great painting it would just be a release of
emotion that might prove beautiful. Are you channeling your energy in a truly
innovative way for yourself while retaining some relationship to the world of form (by
way of motif)? What is important to me is that I see your energy expressed and not
merely dominated by the motif. Are you consciously 'transcending the subject' (as my
Master would say of himself, 'I transcend the subject.'
Maybe you could express in words how this dilemma actually informs how you manifest
your quite proficient technique, and understanding of color?
In any case I wish you the best, and now I'll check out the work itself.
--
'Honoring the light within you,'
William DeRaymond/Artist
http://www.worldlightproductions.com