A connection with the Earth has been lost from our lives and we have a massive lack of awareness about the greatness of striving in our past and its relevance today. We are empowered by our production of art and must sustain an equal opportunity to everyone, nurtured by unprejudiced, non-elitist teaching, far beyond the changing character of each brief era.
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 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.
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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