Lee Musgrave
Land scape
CONTEMPORARY ART REVIEW
manifests itself in the image and thus seems near to us. I seek in my gleaned compositions to allow color and light to become true material subjects thus projecting an instant of clarity that holds time and preserves thought … often defying understanding of how the images were made or even that they are photographs at all.
When looking at the finished photographs of these disparate objects, I love that it is challenging and often impossible to identify them. It also warms me to see that they have been reborn to a new level of remembrance and I rejoice in the pleasure and delight they add to my life and to that of others.
Over your long career you have exhibited your works in several occasions and you have had 21 solos. One of the hallmarks of your work is the capability to create direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?
No one is asking me to create art, I need to see it for myself. Yet, every artist hopes that there will be others that respond to their work for we all want to be heard. That said, I don’ t try to create art that will garner the largest audience … I create art that gives visual form to my need express my wonder and joy at discovering more about myself, others and the world we live in. If my work does the same for others, I’ m happy to share it.
I’ m not sure as to what you mean by“ what type of language is used in a particular context”. The oldest art images, such as those in the Lascaux and Chauvet caves, include abundant semi-geometric abstractions. Thus, our establish lexicon of abstract images has grown throughout the centuries and with the advent