statement
 |
The
Express Impress series is another attempt to reconcile expression
and impression which collide when I attempt to synthesize
them. |
 |
The
impressionistic paintings are a continuation of the Year
of Acrylic and had the working title "Impressions
of Toronto". The expressionistic paintings are configured
in my native style, Prairie Expressionism, and had the working
title "Expressions of Montreal". What difference
does it make? Click on impress and express flash in left frame.
|
 |
I alternated between expression and impression doing first
an expression and next an impression followed by another expression.
Both intertwined series are painted in acrylic on canvas laminated
to 1/4 ash plywood panels. The expressions are 61 cm x 61
cm (24 x 24 in) and the impressions are 61 cm x 46 cm (24
x 18 in). |
 |
We
are in 2005 almost 30 years into the post-modern era and
there are confusions. The academic community believes that
performance, installation, and conceptualism founded upon
the deconstructionist (existential) philosophies are post-modern.
It is not true because those works were pioneered during
the late 1960's. The movements to de-objectify art and distance
visual art from commodity are late modern. In the mid 1970's
it was architects who coined the phrase "post-modern"
to describe a new type of architecture which while incorporating
modern and a modernist functionality in new materials and
technology also included traditional facades and load bearing
devices and humanizing protections like arcades. The post-modern
architects allow niches and walls inside and out on their
buildings for the inclusion of the presently shunned art
objects. The post-modern desire to include and integrate
the old with the new and with the experimental opposes the
modernist tradition of replacing (deconstructing) the old
with the new as an act of social engineering through the
iconoclastic non-objective as wreaker weapon. Modernism
had become exclusive, minimal, premeditated, and self destructive.
Post-modern is inclusive forming a synthesis of contemporary
popular culture with the old modern, the traditional, and
the ancient in a form that maintains an open, spontaneous
free future unhampered by dogma for the young and unborn
generations. |
 |
This
is Chrysler's post-modern 2005 P. T. Cruiser juxtaposed
with a modern 1964 Chevrolet station wagon. Both automobiles
were designed for the same owner; someone who requires a
small, protected cargo space and a family automobile in
one machine.
The
modern designers were attempting to make an automobile which
was absolutely new within a tradition which had never existed
before. The post-modern Chrysler designers conceived of
an automobile which depicts a history. The P. T. Cruiser
suggests a 1930's tradesman's van visually customized and
mechanically updated during the late 1950's or early 1960's
as a one of a kind "rod". The style incorporates
a pop continuity based upon a decentralized hyper expensive
cultural matrix, the hot rod from the past, now mass produced.
|
 |
Of
course art is not design. I am not searching for a new fashion
product to please an easily bored clientele. I am in this
for myself. My post-modern art is a challenge because the
polarized expresso-impressed
objectives cannot be truly reconciled unless it is once again
accepted that it is possible for an artist to be impressed
and to express their impressions without allowing themselves
to become the subject. The post-modern is an exercise, an
advancement of artists to a level where we are capable of
resisting formal criticism with the same debate techniques
used against us. In art there will never be a undeniable cultural,
aesthetic arrival because art is a journey from a non-intellectual
dextral concept through an obsolete construction process towards
a unwanted product. Art is not a succession of incremental
experiments building towards a preconceived and intellectual
consumer tested product which has the effect of engineering
our societies. Art maintains its spirituality not by denying
objectivity but by facing fashion and new materials honestly
and directly with a traditional attempt at beauty and decor.
In art there is a high likelihood of failure. It is expected
that artists, like hot rod designers, who pioneer fashions
rarely reap the rewards. Their imitators, the automobile corporations,
do. Obviously in Express Impress it would be difficult to
reconcile a 1 x 1 square with a 1 x .75 rectangle in a composition.
although, it is something to think about and test. |
 |
There
are troubling cultural clashes between the post-modern and
modern which are absurd if studied clinically. At the heart,
moderns because of their title, "modern", are
associated with "contemporary" long after their
fashions have become history. Painting has existed and evolved
and persisted for 65,000 years. Except for a few brief reoccurring
iconoclastic and forced primitive hiatuses, visual art is
always associated with our evolution. It is boldly foolish
to declare such an ancient and resilient and memorable art
dead. The late moderns, rather than educating masses of
people, alienated themselves in their fortified cultural
institutions with paychecks while the internet and the living
culture and the reveling future grows. Painting will be
with humanity until we evolve into something else. As long
as we have eyes to see and hands to make commodities there
will exist our primitive desire to paint. We artists have
made, are making, and will make an objective continuity
from our beginning to well beyond our ending.
|
 |
The
paintings are on canvas laminated with acrylic gel to ash
or birch "Smart Wood" ply panels. The back of
the panel and the edges are varnished with two coats of
acrylic matte medium to seal the wood surface. After the
painting was completed the front surface of the canvas and
the edges were varnished three times with acrylic matte
medium and the front completed with three coats of acrylic
matte varnish (removeable with an alkaline solution - i.e.
household ammonia 5% solution diluted with water). The resulting
panel is encased in acyrlic plastic and is hardy, doesn't
require glass protection, it is washable with a mild detergent,
and made to last.
|
 |
Barry
Smylie barrysmylie@rogers.com |
|
|