the indigo metallic turns the light elastic bending against the shamshir unsheathed with the intention to inflict rotund harm. perspiration freckles this gauntlet of geometric vehemence harvested in the sterile Kitsatchie of armed heathens. the bavarian oak splinters due to the velocity of distain but Overstreet Ducasse and Frederick Holmes of sinceiwas12 gallery lean their alkaline torsos against the gate of lethargy entrance.Express your sentiments regarding the role of technology in parallel to the primordial modus operandi of tangible hand application.
Frederick: When an individual is purchasing a home it exemplifies the spirit of technology due to the expedient electronic transactions that were processed for the said homeowner to satisfy the the criteria to close the deal.It's a paramount and necessary component in the exact way that purchasing original visual pieces for that home speak to the applied humanity of hand crafted material. Both are symbiotic in melding the cerebellum and physiology.
Overstreet: That is a question for photographers. Visual artist gave up that fight a long time ago, ironically around the time the camera was invented. A whole new style of art was created because of the cameras ability to capture realism. I am sure visual artist who were painting photo realism were not pleased. Then, it transpired to the box control camera of the late 1800's to the digital camera of today, which troubled the 'real' photographers. As a mix media artist, I use a assortment of technology in my paintings, from magazine and newspapers to led lights and clock radios. Ultimately, I feel that artists should learn and respect the basic principals of hand application, yet utilize technology to create current thoughts and ideas.
What is the ideal paradigm for philanthropic institutions as a partner with artisans to assist in proliferating prosperity especially ones with an esoteric or cavalier approach?
Frederick: Institutions need to allocate more capital for artist who address the social fringe sensibilities that's marginalized by the corporate influences who've infiltrated the non-profit fellowship grant distribution.The artisans who dwell in the modern wilderness of a fertile imagination are the ones feed the stoic museum industry.
Overstreet: One of the problems facing philanthropic institutions and artists is the lack of respect for what each side is bringing to the table. The institution provides opportunities in funding and space whereas the artist provides the creativity, exposure, and awareness. But, when money is involved, an institution may have a hidden agenda, which could hinder the artists freedom of creative expression. However, the agenda of the artist could contradict the ideals of the institution, which may or may not be beneficial to either. In a perfect world, an institution would pursue artists who share a mutual respect and understanding for their goals and values, and vice versa. In my own personal experience, I was fortunate to receive free consultation from an established law firm that specialized in intellectual property and had a vested interest in the arts.
What genetic hybrid would be the most pragmatic and formidable guard animal on a jungle excursion and why?
Frederick: To thwart mosquitoes and tangle with the Lions , Tigers, and Lawyers I choose a flying Iguana Mongoose.The mongoose imbibes cobras by the way.
Overstreet: I would choose two monkeys because two monkeys are better than one. But, in taking this question seriously, I would select the lion and toucan as my genetic hybrid. The lion is known to be the king of the jungle and is very aggressive on offense and defense and is known to protect its young. Mixing that with a toucan will create a more colorful and creative personality, so you wont have to rely on aggression as the first defense. You can also fly away if you don't want to be bothered.
Are you biologically predisposed to visual artistry or did your socio-economic environment form a conduit of escapism through this medium?
Frederick: My medium chose me from a metaphysical context that wasn't necessarily genetic based.
Overstreet: As much as I would like to believe that I am special, no one is born an artist. I believe that anyone is capable of accomplishing anything with time and dedication. It's the age old question of Nature vs. Nurture. However, art is a subjective craft, which should not be judged by specific guidelines or rules. One cannot measure art as if it was a race. It is clear to determine the winner of a foot race, but impossible for all to agree on the artist who receives best in show. The only thing that may differ amongst people is style and individuality as well as the distance of time it would take each individual to create the same task. We have a habit of telling children that they can accomplish anything when they are young, so it makes no sense as an adult with more knowledge, wisdom, understanding, experience and resources, to tell them differently.
What is the future context of your form of creation that will foster qualitative progression?
Frederick: Take the fiscal parasites who have no dimensional understanding of artistry and make them walk the plank baby! There will be authentic evolving of our discipline or industry after that transpires.
Overstreet: If you visit the inner city school system, you will find students there who have no interest in history or statistics, but are able to tell you everything about their favorite athletes, including place of birth, the high school and college he graduated, the first team he played for, and the scores he accumulated during that time. Further more, they can pick up the news paper, and break down the sports section.
My point is that people are very selective with their areas of interest and will learn everything possible about the subjects that interest them.
The primary reason for moving to Jacksonville initially was to assist my sister who is a chiropractor. At first I had very little interest in what she did. But when it was time to decorate her office, she commissioned me to do several paintings. As I was working on one of the paintings, she noticed me painting 3 random numbers on the canvas. She suggested that I use the numbers 7, 12, and 5 instead. When I asked her why, she responded that those 3 numbers represented the lumbar, thoracic and the cervix, which represent the upper, mid, and lower section of the spine. That bit of information massively inspire me to not only create a new series but it also encouraged me to learn more in her field, which was later reflected in my art.
So the interest in art, music and sports is very relevant to science, history, and mathematics. Some of the best artists don’t just use freehand gestures but incorporate a lot of mathematics. There is a science behind the color red and yellow turning orange. There is a history in Ancient Egyptian hieroglyphics and the graffiti you see on the streets.
So as an artist who is interested in the future of our children, I am faced with the challenge of encouraging programs that combine art, music, and sports with science, math, and history, because those programs are essential for creating balance in education.
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Interviewed by contributor The New Bullcatcher.
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