Thursday, October 16, 2008

Process as Art, More Insights from Source Artist Process

There are those conversations that for some mysterious reason come at the just the right time to help crystallize an idea or lesson.

Imagine, a 20 year desire takes center stage and I felt compelled to make my mark as an installation artist, rather than confining myself to my previous explorations that rarely ventured beyond the land of canvas or paper. I felt drawn to software and digital art although I knew virtually nothing about the tools of the trade.

Gradually it started to dawn on me that if I announced this intention that I was opening the door to let whoever wanted to pay attention witness my growth process as an artist. When I realized and accepted what I was setting out to do, I had not even learned to use Photoshop. Since then I have made playing with various tools to work out ideas part of the process art concept.....

Recently I had a conversation that helped me understand you don't let what you don't have stop you from doing what you need to do. If I waited for someone else to see the value in what I have been working on then there would be nothing to communicate it now. I had to start in order to increase the potential for the goal to be realized.

Last week Dawn was discussing fear in her blog. Later as an aside she explained the reason for shining the light to clear them out.

Today I had one of those conversations that allowed me to see more fully the fears I had overcome to pursue Cultural Fusion…and what the phrases, "art as philosophy" and "art with purpose" mean for me.

Tonight I have had a deepening of my experience and understanding of why process art as a core component of the installations I have been developing.

Process artists were involved in issues attendant to the body, random occurrences, improvisation, and the liberating qualities of nontraditional materials such as wax, felt, and latex. Using these, they created eccentric forms in erratic or irregular arrangements produced by actions such as cutting, hanging, and dropping, or organic processes such as growth, condensation, freezing, or decomposition.


What they refer to as random occurrences I see as synchronicity when they advance the work to become part of the process. In this multilateral framework these are points of Source:Convergence.
Where most work has been concerned with growth in context of plants or base perspectives, this one is concerned with growth in consciousness, self awareness and personal fulfillment on the individuals and collective/community levels.

Process art

U.S. and Europe, mid-1960s
Process art emphasizes the “process” of making art (rather than any predetermined composition or plan) and the concepts of change and transience….

Their interest in process and the properties of materials as determining factors has precedents in the Abstract Expressionists’ use of unconventional methods such as dripping and staining. In a ground-breaking essay and exhibition in 1968, Morris posited the notion of “anti-form” as a basis for making art works in terms of process and time rather than as static and enduring icons, which he associated with “object-type” art. Morris stressed this new art’s de-emphasis of order through nonrigid materials, pioneered by Claes Oldenburg, and the manipulation of those materials through the processes of gravity, stacking, piling, and hanging.


Where formal discussions of process art is concerned with "properties of materials" and expanding the understanding of "unconventional methods".

The adaption of Process Art to a context that is possible of engaging larger communities rather than ascribed as a luxury of the few.

Taken several steps further SoulFood as framework for the Source Artist Process-internal. Attention has been paid to the survey of the ingredients .

This is most definitely research into the metaphysics of art applied to real life challenges.

1. Personal growth through art as process
2. Transparent model for the above as part of sustainability and community renewal
3. Research and Development into implementations of open economies as part of the above
4. Helps define intangible assets and economies that can leverage opportunities previously mentioned
5. Concept for works of art that are interconnected expressions of the above

No comments: