|I am both humble and inspired.|
My Perspective, My Art
My art is concerned with the actions and presentations of form in our world. I am an agent of this world, as we all are.
I look to meaning and feeling from an abstract playing field and from our broadest experience of what is and what could be.
On the Cusp
I am both humble and inspired. I am humble because I am, seemingly, so small and so peripheral to the greatness of the universe. And yet I am inspired because I have an artist's grasp of certain fundamentals of, and insights to the Universe.
I realize that the current thrust of our art institutions and artists is to those things we see in front of us: our cities, our issues of human activity, commerce and art, war ― life and death.
I take a broader perspective. I have always been an idealist, and I prefer to take a cosmic view of my life and of our experience here on Earth. I want my art to work with issues and forms I see all around me here on earth, and which I also see in artifacts, images, mathematics and theory that we create as we concern ourselves with distant dimensions and times of the universe. These concerns are vital to our lives and important for both our science and art. Yet my methods are those of art, not those of science. Yet these art methods are as important to us as are our science methods.
My current art explores and enacts these cosmic issues and forms. This art is not science fiction, but an honest enactment of vital processes, forms and issues that I see. Some things are important to the way I make my art. Some of these things may be original and some are an inheritance form Cezanne, Kandinsky, the Cubists, Mondrian, Expressionism, Emile Nolde, Max Bechman, Hans Hoffman, Oskar Kokoschka, Henry Moore, Jackson Pollack and many others.
At the age of 73, this is a late time in the life of my art, and this art is the most vital I have produced. It is only through my long experience of drawing and landscape painting that I have the freedom to re-interpret form in my art, towards my current expressionism and abstraction.
Come Through, Dancing
Some of my current ground rules are:
The value of my art is partly in the structure of the work ― because structure is the most objective medium in which the art exists.
The value is partly in its ability to be reached through the psyche of both our culture and its people ― to connect and inspire.
The value is partly in its vitality ― importance to life.
The value is partly in its truth to my being ― the only real originality I have to contribute.
The elements of my current art are:
My concern for the emotional resonance and personal harmonics of color.
My concern that you read the art visually without the use of verbal language.
My art should be the result of an interaction (battle) between order and chaos and some found issue of personal concern.
This art (meaning and subject/conscious and unconscious) is the result of my conscious and unconscious imagery. And it is the result of the forms and meanings I am able to arrange and structure in the artwork.
What we call abstraction is really colors, shapes and processes as subjects engaged in dramas of interest.
My choices of form, as I do my work, seem to be the result of an iterative process immersed in the possibilities that exist between simple arrogance (because simplifying art to a few significant images is a form of arrogance) and complex exuberance (because complexity is the more normal result of creative energy).
What is the place of computer technology in my art?
It is to provide methods and tools to make significant creativity easier. The artist should be enabled to do his will easily and without interference.
At times, teachers of art and artists themselves have suggested that artists need limitations to force control, structure and clarity in their work, that great art is the result of struggling against limits. But there is nothing wrong with allowing and enabling artists to structure what they need instead of depending on the limitations of an art medium or by enforcing meaningless external dictum.
God knows we are already limited and enabled by our physical structure and our mentality; by our universe and its mentality; and by our community and its history.
Artists don't need to be told what to do. They keep learning what to do through their creative choices and their spirituality.
So the computer will allow us to do what we already do, but better. We will not be given significant human vision by computers. Rather, we will be enabled to pursue our human visions which are already a part of us and our culture. We created computers. They didn't create us. And though our tools affect how we work, it is our choice that is important, that is the fire ― we are the fire.
So what about style?
Style is the results of community among artists as they influence each other. But each artist is an individual and presents his own inspiration, direction and personal style.
See my Digital Art Guild gallery for more examples of my current work.
Critics and historians create their own notions of style as they attempt to help us understand and feel the significance of the art of various times and cultures. But style is partly the creation of these writers independent of the artists, and sometimes in collaboration with the artists.
With notions of style in our heads, independent of the actual artwork, and fed by the word medium of the writers on art, we must be careful not to lose sight of the art and our ability to know through seeing rather than through words.
And we must be careful not to run rough shod over the personal style of each of the artists who play their part in the development of our cultures. The individual style of each artist is to be treasured, even as they contribute to the generalized ideas of style.
There is no shortcut, through words, to replace our learning by looking and experiencing, ourselves, the art of our community. And this is the only way to be fair to each artist and ourselves.
And I must admit that I am somewhat concerned because of our current atmosphere in art, which is being directed to words and concepts of a meta world above the art. This situation seems to direct young artists to serve as demonstrators for these ideas thought out by our literary art community.
It is my personal vision that holds the visual form as the supreme source of visual art. For me, though I do my art on the computer while seeing it on a monitor. It doesn't seem to be fully realized until I have printed it on my wide format printer and I see it in a large scale, and the color forms, which inspire me so, are resonating through my eyes. Teaching me, filling me through seeing the drama, finding the meaning as this visual art presents itself and changes me. This is the experience we all must learn in order to know the art of any time we are interested in.
Howard Ganz's art