About the artist

ABOUT THE ARTIST

Anti Anti Art: Hi, I'm British artist, Artiface (Andy), but I like to think of myself as a dedicated craftsman and contemporary painter, I'm not too comfortable with the term, "artist," and all that academic kak that goes with it. I work hard to create what I hope is good art, and all I ask for my effort is a fair price. 76 Totters Lane Art Studio, so named because that's the address of the very first Doctor Who, and thought it suitably Magic Realist, and is in the ancient city of, Leicester, in the United Kingdom. I'm mostly self-taught, but I did go to Art School for several years where I studied Fine Art at the, De Montfort University. I use a wide range of different mediums in my work, from the more traditional Oil, and Acrylic Paints, right through the spectrum to New and Mixed Media, Photograph, and Digital Art. My work has a strong formal element but also contains subtle vernaculars drawn from a contemporary, and wider retro, Popular Culture. I take my inspiration from the Pop Art of the Sixties, focusing on, Andy Warhol, Allen Jones, Sigmar Polke, the Italian Transavantgardists, and Magic Realism. My work often ventures into anti-realism, with strong elements of the artifice, borrowing from, amonst other things, the Television, especially T.V. programs done-on-the-cheap - like those series with ever so plastic sets, wonky props, and bad acting. The Sixties is a good example of aesthetic artifice: all those puppet shows, Roberta Leigh's "Space Patrol," early Dr Who, and mega on Surrealist vision, "The Avengers," extreme realist movies, that are so real on "kitchen Sink," and issue, they become strangely unreal, like much of the work by the Swedish director, Ingmar Bergman; I also love the excesses of Kitsch, found to saturation point in Indian movies. ........................................................................................................................................................................................................................................... WHAT IS ART - posted on the Network Artist forum, click link ART BABY ART The art academies have been too concerned with realism in art, taking it to it's inevitable plunge into scatological themes, and worse. All sanity has gone, confused, they have totally forgotten the true nature of what art is all about, surely, art is artifice, as polarity to reality, and, or, Realism. Going to the Movies, with ever more sophisticated developments made in Computer Graphics, can be more real than reality. Direction seems to be totally dependant on effects - looking sometimes like reality gone mad. A good example of natural realism effect is the latest Matrix, and Kill Bill, movies, where the graphics were such an in-your-face constant they became, after only a short time, totally pradictable and boring to watch. Let's, if only for sanity's sake, turn the clocks back to the time when films were made in black and white, or in Ytonal green, bottle blue, or popular pink, bring back movie sets, where atmosphere could be better regulated to the directors aesthetic tastes, and absolutely no effort made on making it real. Take a look at Italian Transavantgardism, with their cry of, "art is dead," nothing new there, didn't Duchamp do that already? Perhaps Magic Realism is the answer. But there's that dreaded word again, Realism. We all need to escape, my work is fundamentally escapist, I believe escapism has become an issue of survival in our modern towns and cities, where peoples natural ability to use their imaginations have been crushed and smuthered by materialism. We all need to be free, to escape, and escapism is artifice, art over realism. I want to bring it back from the realms of post modernist vandalism. All that talk about anti-art, anti- illusionism, creating aesthetic free art: what a load of, you know what. I spend most of my time on the Net looking for venaculars from all over the World, the rest of the time fingering through magazines, ancient and modern, searching for a unity, retracing the steps of art history, a re-evaluation. A quest for the "Grand Aesthetic Unifying Theory," mirrowing sciences Grand Unifying Theory of Physics? not bloody likely. So, do you know anymore about what art is? lets face it, it was a stupid quetion in the first place, and even stupider to try to anwser it. BY ARTIZOOMER'S BLOOMERS ..................................................................................................................................................................................... Understanding imagination: we have to understand it's position in the mind, and the mind, according to traditional western scienctific though,t is composed of two parts, the conscious, and the unconscious. Where by the conscious mind signifies the particular, and has particular tastes and direction, the unconscious signifies the opposite, the universal, and has no tastes, only total acceptance of all things. The imagination is the middle ground between the Conscious and the Subconscious Mind; it has qualities of both particular and universal pull, both light and dark, a grey area of unbelievable creative potential that we refer to and use constantly - every decision we make calls upon the imagination to help us visualise its possibilities.	Eyes inside-out by Giuseppe Penone At the end of 1967 the Genoese critic, Germano Celant, emerged with a published manifesto of illustrative exhibitions in Genoa (1967) and Bologna (1968), all bearing the title"Arte Povera" (poor art). Taking certain cues from Beuys these Italian artists offered up certain mineral tokens of biological life cycles and used them as an alternative to the manufactured subject matter of Pop. Also, the totally unneccasary giant Canvases used by the artists of the period, and the huge commercial base of the Galleries, Promoters, and Agents were all viewed, by the Italians, as superfluous to the act of artistic creation. A call of back to basic and inexpensive ephemera of materials was seen by some as an interesting polarity to the New York ideal - a challenge from a less materialist Europe. But Celant was advancing a more direct notion of povety, a deliberate impoverishment of pre-existing codes of meaning, a further reforming of what was now considered tradition. American art partook of the abstract system of industrial production and distribution which governed modern consciousness. These systems were available to linguistic description and to artistic representation. The aim of Art Povera was to remove the "re" from "represent," to force the viewer to confront the naked reality of the object.

Anti Anti Art: Hi, I'm British artist, Artiface (Andy), but I like to think of myself as a dedicated craftsman and contemporary painter, I'm not too comfortable with the term, "artist," and all that academic kak that goes with it. I work hard to create what I hope is good art, and all I ask for my effort is a fair price. 76 Totters Lane Art Studio, so named because that's the address of the very first Doctor Who, and thought it suitably Magic Realist, and is in the ancient city of, Leicester, in the United Kingdom. I'm mostly self-taught, but I did go to Art School for several years where I studied Fine Art at the, De Montfort University.

I use a wide range of different mediums in my work, from the more traditional Oil, and Acrylic Paints, right through the spectrum to New and Mixed Media, Photograph, and Digital Art. My work has a strong formal element but also contains subtle vernaculars drawn from a contemporary, and wider retro, Popular Culture.

I take my inspiration from the Pop Art of the Sixties, focusing on, Andy Warhol, Allen Jones, Sigmar Polke, the Italian Transavantgardists, and Magic Realism. My work often ventures into anti-realism, with strong elements of the artifice, borrowing from, amonst other things, the Television, especially T.V. programs done-on-the-cheap - like those series with ever so plastic sets, wonky props, and bad acting. The Sixties is a good example of aesthetic artifice: all those puppet shows, Roberta Leigh's "Space Patrol," early Dr Who, and mega on Surrealist vision, "The Avengers," extreme realist movies, that are so real on "kitchen Sink," and issue, they become strangely unreal, like much of the work by the Swedish director, Ingmar Bergman; I also love the excesses of Kitsch, found to saturation point in Indian movies.

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WHAT IS ART - posted on the Network Artist forum, click link ART BABY ART

The art academies have been too concerned with realism in art, taking it to it's inevitable plunge into scatological themes, and worse. All sanity has gone, confused, they have totally forgotten the true nature of what art is all about, surely, art is artifice, as polarity to reality, and, or, Realism.
Going to the Movies, with ever more sophisticated developments made in Computer Graphics, can be more real than reality. Direction seems to be totally dependant on effects - looking sometimes like reality gone mad. A good example of natural realism effect is the latest Matrix, and Kill Bill, movies, where the graphics were such an in-your-face constant they became, after only a short time, totally pradictable and boring to watch.
Let's, if only for sanity's sake, turn the clocks back to the time when films were made in black and white, or in Ytonal green, bottle blue, or popular pink, bring back movie sets, where atmosphere could be better regulated to the directors aesthetic tastes, and absolutely no effort made on making it real.
Take a look at Italian Transavantgardism, with their cry of, "art is dead," nothing new there, didn't Duchamp do that already? Perhaps Magic Realism is the answer. But there's that dreaded word again, Realism.
We all need to escape, my work is fundamentally escapist, I believe escapism has become an issue of survival in our modern towns and cities, where peoples natural ability to use their imaginations have been crushed and smuthered by materialism. We all need to be free, to escape, and escapism is artifice, art over realism.
I want to bring it back from the realms of post modernist vandalism. All that talk about anti-art, anti- illusionism, creating aesthetic free art: what a load of, you know what.
I spend most of my time on the Net looking for venaculars from all over the World, the rest of the time fingering through magazines, ancient and modern, searching for a unity, retracing the steps of art history, a re-evaluation. A quest for the "Grand Aesthetic Unifying Theory," mirrowing sciences Grand Unifying Theory of Physics? not bloody likely.
So, do you know anymore about what art is? lets face it, it was a stupid quetion in the first place, and even stupider to try to anwser it.

BY ARTIZOOMER'S BLOOMERS
.....................................................................................................................................................................................

Understanding imagination: we have to understand it's position in the mind, and the mind, according to traditional western scienctific though,t is composed of two parts, the conscious, and the unconscious. Where by the conscious mind signifies the particular, and has particular tastes and direction, the unconscious signifies the opposite, the universal, and has no tastes, only total acceptance of all things.

The imagination is the middle ground between the Conscious and the Subconscious Mind; it has qualities of both particular and universal pull, both light and dark, a grey area of unbelievable creative potential that we refer to and use constantly - every decision we make calls upon the imagination to help us visualise its possibilities.

Eyes inside-out by Giuseppe Penone

At the end of 1967 the Genoese critic, Germano Celant, emerged with a published manifesto of illustrative exhibitions in Genoa (1967) and Bologna (1968), all bearing the title"Arte Povera" (poor art).

Taking certain cues from Beuys these Italian artists offered up certain mineral tokens of biological life cycles and used them as an alternative to the manufactured subject matter of Pop.

Also, the totally unneccasary giant Canvases used by the artists of the period, and the huge commercial base of the Galleries, Promoters, and Agents were all viewed, by the Italians, as superfluous to the act of artistic creation. A call of back to basic and inexpensive ephemera of materials was seen by some as an interesting polarity to the New York ideal - a challenge from a less materialist Europe.

But Celant was advancing a more direct notion of povety, a deliberate impoverishment of pre-existing codes of meaning, a further reforming of what was now considered tradition. American art partook of the abstract system of industrial production and distribution which governed modern consciousness. These systems were available to linguistic description and to artistic representation. The aim of Art Povera was to remove the "re" from "represent," to force the viewer to confront the naked reality of the object.