ART Habens Art Review // Special Issue ART Habens Art Review - Special Issue #89 | Page 22

ART Habens
Jack Rosenberg
aspects of being an artist in the 21st century
with many contemporaries; but like faces,
we’re all a bit different. That difference is
celebrated and expressed in the highly
individualistic artworks that the current
generation of contemporary artists seems
intent on creating. The creative process can
be divorced from direct experience: think of
the first human sculptures of gods and
deities. Certainly, since there were no actual
gods to model, those artworks were born in
the imagination, although they were
certainly inspired by “real” attributes and
forms. The creative process takes up a
substantial portion of imagination. Having
said that, I think most artists are the sum of
their parts and their being absolutely affects
their creative processes.
In one sense, it’s quite straightforward: I
paint and then I exhibit the work.
Of course, deep in my mind as I am working
I do understand that the audience will be a
key component of the experience of the
exhibition. That said, I do not alter my
process or artistic choices based on what I
may imagine how some viewers would
respond. I stay as independent as I can in
the studio.
Naturally, I would love for everyone to
respond and be interested and enthusiastic
about each and every artwork. It doesn’t
work that way though: each viewer brings
their own set of criteria and expectations
and tastes. I couldn’t possibly anticipate
what they might all be and wouldn’t want
to try.
By blurring the boundaries, literally, of the
images, I create an ambiguity that allows
room for projection and interpretation. Some
paintings are more receptive to this
openness than others. It’s all a byproduct of
the dialogue that goes on in my mind during
the actual painting process.
Each series or body of works is an
individual statement or point of view.
Somewhere in my group of recent paintings
is the seed that will grow and multiply to
generate the imagery of my next series.
My work is obviously representational, and
often familiar. It’s then processed and
“disambiguated” so as to create a different
conversation. The amount or density of
abstraction is directly proportional to the
goal of retaining an edge of familiarity. It’s a
narrow edge that I try to balance upon.
When I am successful, the image is mostly
accessible—yet significantly altered and
transformed—and the final artwork yields
interesting, even pleasing results.
Special Issue
Where it goes from here, I’m as curious as
you to find out…
An interview by
and
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, curator
curator