ECOARTNET WINTER 2002
'Windows into the Past' Exhibition
ARTIST STATEMENT
"This low relief sculpture portrays my experience working on the Pahoa Coast of the big Island of Hawaii with found material such as palm fronds and seed ponds"/Marianne Weil/2002
"Let us not lament any lost pleasure in abandoning the notion that we now reside on an ever rising pinnacle of continuous mental advance, looking back upon benighted beginnings. Consider instead the great satisfaction in grasping our true fellowship with the first known Paleolithic artists. There but for the grace of thirty thousand additional years go I. These paintings speak so powerfully to us today because we know the people who did them; they are us." Stephen Jay Gould on the Chauvet Cave's paintings/1998/on 'Science and the Arts'
From the Editor,
For centuries, the universal ideas and link between man's creativity and the progress of man (as well as other forms of knowledge) have joined NATURE & ART in museums, disciplines, maps, guides, magazines, documentaries.
This issue of ECOARTNET introduces our Guest-Sculptor Marianne Weil with the thought-provoking argument by Stephen Jay Gould on possible new paths to discover the link between human beings and nature expressed through ART across millenia. Let's appreciate the continuous manifestation of the 'same fundamental dream' between the artist today and his/her earliest brethren 30,000 years ago. Instead of driven by a progressive evolution and change, by the straight line from simple to complex, let's take into consideration that crucial details about the emergence of human language, of what is vital for any understanding of it,like sounds, colors, behaviors, feelings, movement, etc., simply do not fossilize and cannot be preserved in geological records.
In Art, the perception of space as the continuum of our existence places time, light, matter and movement as qualities of space. These are the essences of Sculpture. This ecological awareness of the "living form", expressed through dialogue between the natural processes and the handling of materials, emerges as a harmonious interrelation between human beings and nature.
By understanding the attraction and transformation of the material by the artist, the hidden power of the material is unlocked in our collective memory. This is the artist's visionary tool and not the artist's goal. It is the 'sign' which carries with it the seed of history. It is the awe of the material, the human's desire to intervene in the material. The material's role is not to reproduce, to represent, to reconstruct. Instead, it is used to present, to produce, to construct new things, to create, even when it is necessary to use second hand materials. There is value not just in the discovery of the new material but also in how you use old or found material.
The artist has become a mediator between opposites: the known and the unknown, the seen and the unseen. The artist intervenes in the material and gives it form. This form functions like a vehicle of transformation from the analytic to the synthetic, from the expected to the unexpected. It is aPaul Klee's movement-thought binding the useful with the useless, the earthly with the cosmic: a 'sign' that is constantly in the process of developing an artistic language.
As soon as the harmony between such opposites is achieved,, new struggles appear to the artist. This moment of calm, the moment when the work of art is born and emerges, lasts only a few seconds. It is almost imperceptible in time when the artist's vision emerges. It is a moment of intense spirituality and relief, the movement has become at the end thought./Nohra Corredor/2002
ECOARTNET 2002 Online Exhibition
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'Windows into the Past' Exhibition
ARTIST STATEMENT
"This low relief sculpture portrays my experience working on the Pahoa Coast of the big Island of Hawaii with found material such as palm fronds and seed ponds"/Marianne Weil/2002
ECOARTNET WINTER 2002 ISSUE: "Windows into the Past"
"Let us not lament any lost pleasure in abandoning the notion that we now reside on an ever rising pinnacle of continuous mental advance, looking back upon benighted beginnings. Consider instead the great satisfaction in grasping our true fellowship with the first known Paleolithic artists. There but for the grace of thirty thousand additional years go I. These paintings speak so powerfully to us today because we know the people who did them; they are us." Stephen Jay Gould on the Chauvet Cave's paintings/1998/on 'Science and the Arts'
From the Editor,
For centuries, the universal ideas and link between man's creativity and the progress of man (as well as other forms of knowledge) have joined NATURE & ART in museums, disciplines, maps, guides, magazines, documentaries.
This issue of ECOARTNET introduces our Guest-Sculptor Marianne Weil with the thought-provoking argument by Stephen Jay Gould on possible new paths to discover the link between human beings and nature expressed through ART across millenia. Let's appreciate the continuous manifestation of the 'same fundamental dream' between the artist today and his/her earliest brethren 30,000 years ago. Instead of driven by a progressive evolution and change, by the straight line from simple to complex, let's take into consideration that crucial details about the emergence of human language, of what is vital for any understanding of it,like sounds, colors, behaviors, feelings, movement, etc., simply do not fossilize and cannot be preserved in geological records.
In Art, the perception of space as the continuum of our existence places time, light, matter and movement as qualities of space. These are the essences of Sculpture. This ecological awareness of the "living form", expressed through dialogue between the natural processes and the handling of materials, emerges as a harmonious interrelation between human beings and nature.
By understanding the attraction and transformation of the material by the artist, the hidden power of the material is unlocked in our collective memory. This is the artist's visionary tool and not the artist's goal. It is the 'sign' which carries with it the seed of history. It is the awe of the material, the human's desire to intervene in the material. The material's role is not to reproduce, to represent, to reconstruct. Instead, it is used to present, to produce, to construct new things, to create, even when it is necessary to use second hand materials. There is value not just in the discovery of the new material but also in how you use old or found material.
The artist has become a mediator between opposites: the known and the unknown, the seen and the unseen. The artist intervenes in the material and gives it form. This form functions like a vehicle of transformation from the analytic to the synthetic, from the expected to the unexpected. It is a
As soon as the harmony between such opposites is achieved,, new struggles appear to the artist. This moment of calm, the moment when the work of art is born and emerges, lasts only a few seconds. It is almost imperceptible in time when the artist's vision emerges. It is a moment of intense spirituality and relief, the movement has become at the end thought./Nohra Corredor/2002
Welcome to ECOARTNET Winter 2002 EXHIBITION:
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