Drawing is carried out on a daily basis, in preparation for a work in another media, as a means of exploration and as an end in itself. I work with a precise control, building the drawing line by line with little or no erasing, a precision built up from years of working from life, and from etching. Each line interacts with all the existing lines, the more complex the structure, the more sophisticated is the process of controlling the journey the analytical process and a management of the whole work. Drawing allows us to continually explore new dynamics, devices, rhythms, with abstract and pictorial associations.
Continual research into ancient civilisations even before the great flood, the primordial, early magic, alchemy and occult, the manipulation of religions, awesome and compelling images through time, ignite my passion for life and my search to find our true origin and destiny. I have a deep sense of compassion and love for human life. A connection with the Earth has been partly lost from our lives and we have a massive lack of awareness about the greatness of striving in our past and its relevance today. Our tradditional sense of culture and human interaction has been errode by an age of instantanious gratification, with little imput from the players. Our childhood contact with raw materials in the outdoors together with the excitement of play and the ability to fantasize and imagine, to project ourselves, has also been deminished. The great power of art holds out hope for individual expression as well as enriching our sense of community.
If our freedom to make comment even to protest lawfully, comes under threat, then all that our soldiers have died for, is in grave danger and our sense of national identity will also be erroded. Then will follow our soscial intitutions, local soscieties and any trust we may have had for the administrations, all that we cherish gone forever because we did nothing. Art has become human ecology, its freedom of action and freedom of choice, a thermometer with which to test our freedoms overall, how much we have lost drip by calculated drip and how much we stand to loose in the immediate future!
A liberated, researching education is essential as all subjects interact and feed from each other. We create subjects in order to allow for specialisation and the grouping of skills relevant to a working society. Underlying each area there is a common ground that is far from mondain as from primary to university level there has to be a sense of play, experiment, creativity, discovery and an imprinting connection. Art has been treated with suspicion as very few have identified its function in a curriculum. By its very nature, art cannot be taught only evoqued through an empathy with the needs of each individual. One may call a knowledge of art in history, or to be informed through practice about techniques, academic, and these elements offer an essential empowerment throughout life.
Research is ongoing about the psychological importance of experience, expression, release, therupy and self development through learning that touches all areas of sosciety. Connecting those processes with disfunctional, repressed, confused children who live in a world of changing ethics is the big challenge and nurturing freedom, creating an oasis within a school or college offers a vital lifeline for the young, that inevitably places an art teacher in the role of a pastoral care worker. Many teachers feel that this is not a part of their already over administrated jobs, but they are in danger of further empowering the Soscial Services' infiltration into the professional regime of education and freedom in the family unit.
I engage with the semi conscious and evoke the unconscious to draw out dreamlike elements, even images that come from another realm through remote viewing. It is conceivable that in this way that humans may be used as a vehicle by other entities. This erodes any fixation about originality and the ego. Consider the idea that you may be interdimensional, and are about to become more so (see 'New Genetics - Gallery - Writings).
I watch the tension build by watching the drawing process itself as if witnessing the event beyond the self. You could equate this with listening to your words or music, as if you are your own audience. Shapes may evoke the animate or inanimate, a circle may be perceived as a shape, a hole, a solid, or an eye, the features of a face-like form may work in a variety of combinations, interacting with other adjacent forms, even becoming polyphonic, (an image that can be read in a number of ways, your mind alternating from one perception to another).
Your own body language and patterns of learning, may cause you to repeat the same approach making a recognisable pattern of shapes from drawing to drawing. It is worth analysing this pattern, and to experiment with changing the way you draw, beginning in a different place, changing the sequence of the development. Try imagining that the subjects you draw are made of wood, metal, or a soft material, this will produce a different feel to the work. Monitor your mental climate and the environment you are trying to evoke, as well as the environment you are working in. This process requires great discipline particularly if you are to maintain a continuity and a flow throughout the drawing from beginning to end.
Erasure may provide a drawing process in its own right, working in negative by removing areas of tone, refining and cutting back edges or softening forms. The wonderful thing about drawing is that you can develop your own way of working, to give a reality to your ever evolving thoughts, it is how you control it. Let your confidence grow, try to overcome inhibitions and worrying about the opinions of others. You don't have to seek originality, you are innately original in space and time. It is not always wise to pin yourself to a style too early as this restricts your flow and development.
Institutions apply stilting pressure too early to students who feel obliged to develop a style-package with a veneer of maturity. Freely look at any artist who you admire and any source to ignite ideas. Everything you react to is an extended evolving portrait of you. To restrict any influence is an act of inhumanity. History is influenced by its enterpretors even severely edited to control the human race. We may not fully understand the bygon envoronments in which art was conceived and made, however we do have the work itself, a priceless lense into our world in a different time. History presents a vast resource and through our enterpretation it will change again and become unique to our time.
Post Modernist education is entirely wrong therefore to deny art history as a part of our living breathing present. It is precisely because we become historic and vintage within our own lifetime that what we have to say and the body rythms of craft are more important than mimicing a fashon or trying desperately to appear original. We scratch the surface of cosmic chaos within the very depths of our psyche to produce a mere hint of its reflection in our minds.
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