| FROM THE STUDIO November, 2008 j.r. lancaster Essay # 1 An Outsider Artist’s Thoughts on Outsider Art The human species is instinctively drawn to aesthetic energy - whether natural or human made. We long for beauty and sensory stimulation - ephemeral gifts of the mind’s eye. These things stir the soul and make us feel alive. Art is a vehicle to that realization. I believe any exploration into the nature of art is a multifaceted cerebral examination and a challenge to effectively communicate - an enigma - as are many of the individuals who dwell in the world of expressive imagination and unbounded creativity. Throughout time numerous writers, critics and art lovers have offered their opinions on this expansive subject, and carried great weight in the commercial/history-making context – but indisputably the interpretation of the artist is decidedly different. Therein lies the dense, swirling gravity of art - regardless of time, distance and experience, its intention often eludes even the keenest observer. Words confuse and detract; art simply must be felt – much like a Rothko or Frankenthaler color field painting. Art is a gift of the gods; a product of intellect and spirit to be experienced firsthand. When it is all said and done, the interpretation of significance is the viewer’s alone. There are legions of labels for the various art movements identified since ice-age humans applied pigment to their cave wall. One needs a degree in such matters just to keep up, especially since the early 20th century. Before that, changes were slow and subtle. Certain motifs found in prehistoric art were in style centuries before any notable transformation. The same goes for subsequent art schools - until the emergence of the Parisian (creative) hotbed over a century ago, which led to the New York “Abstract” school of the mid 20th century; ad infinitum. There are classic tales associated with historic movements (and individual artists) which shape the way we experience the world today, while many others were a flash in the pan - their impact on humanity and the overall art movement minimal. Outsider art is certainly as deep and expansive as any art form - a small yet soulful tributary placed in the current of today’s art wave. But the fact is, Outsider artists are not focused on navigating a main channel - many engage in Outsider art whom never see the inside of a gallery or have work included in a patron’s collection - though there are a handful of collectors and writers now bringing this genre into the limelight. As a result, some are now leaving their cave, exploring (in open-eyed wonder) a world far different than their working environment. The majority, though, will never depart their sacred space no matter the incentive. Tending toward a shy and/or reclusive nature, often dismissive of their inner knowledge, Outsider artists rarely seek attention or want reassurance they are on the “right” path, but instinctively know their direction is true. And perhaps this is why. Outsider artists personify the Waldenistic nature of the individual self, not a collective mindset. They generally do not attend art schools or have formal training, in fact, “self-taught” is the most common discipline of Outsider artists. They find a bit of fertile ground and transform their environment into a sacred space (be it acres or feet) filled with endless creations. Living studios are fashioned - constantly evolving on the fringe of society regardless of the surrounding population density. Indeed, many Outsiders (as many other artists) are perceived as strange or eccentric by the general public (and vice-versa) but public opinion has little (or no) hold on their creative mind. Outsiders left the greater tribe without a map, or even a concrete direction…which could explain why many find themselves in the poverty zone for either the majority of, or their entire, life (conceivably a prime ingredient of their approach)...the accolades of the world are insignificant, their work and peace of mind of the utmost importance. The things most find necessary – food, shelter, companionship, money – take a back seat to the “easel”...their core. The Outsider often has a strong attachment to the land, to Nature/Mother Earth. The ideas and material they mine from this connection serve as the umbilical cord; passing along internal information and experiences as well as offering respect to the planet and the spiritual forces surrounding it. Many Outsiders work directly with earth elements and the detritus of modern man. They see infinite possibility in discards, rust and rejects – and intuitively create a corporeal tribute to the spirit of the material which fortifies with each manipulation and layer. They are storytellers in the truest sense, in tune with the subtle messages locked in time, and able to relay this narrative through a unique creative gesture. In this manner they give expanded life to the discards of society and glorify the seemingly insignificant things found in Nature. They often transform this material into an altar; a sacred assemblage of disparate objects or a unique composition of the eternal. Outsiders believe in magic and the spiritual forces which surround each and every one of us, their works evoke the power and mystery of the soul. To the Outsider, art is an essential form of being, inseparable from life itself. There are few pre-visualized plans for the Outsider artist, especially during the creation of an “outsider environment.” Motivated by an obsessive and fertile imagination, coupled with a desire to create with almost anything, they usually work alone, and are on a continuous search for material…their work naturally flowing in the direction of the material they choose to employ. You will often find deep religious themes, myths, visions, and dreams brought to life - some have invented their own legends, symbols and language. The wisdom of the ancients inhabits the Outsiders palette and they open themselves to the voices - often feeling they are a channel; an outlet for a greater power. The work of those with psychological disorders also comes under the label of Outsider art. These artists are the extreme examples of this genre. They truly exist in a world beyond the bounds of most people; operating in an isolated, personal space (even if confined) with nothing other than the satisfaction gained from the pleasure of the creative act. They are often given materials to work with by the designated caretaker, but the subject and approach is their own; the result frequently studied -hoping to dissect the cause of the “disturbed” mind. In this sense, Vincent Van Gogh was the quintessential Outsider – suffering numerous mental maladies during his short life - perhaps the most painful the blatant disregard of the public to the gift he offered. Certainly when the human mind is on fire (creatively), both greatness and tragedy can befall the bearer. In many ways Miro, Dubuffet, Picasso, Pollock, Dali - even Rauschenberg and Warhol - could be considered Outsiders. They undeniably worked “outside the box”, but all had some degree of association with a greater art community - and sought the limelight regardless of their eccentric character. Most Outsiders need little limelight, or the support of an art community. Flexibility and a compassionate openness for play and change are part of the rare character that shapes the Outsider. They are tireless workers who never lack for inspiration or material to work with... though “traditional” resources are often scarce, they simply migrate to a viable substitute and keep working - a survival instinct much like the old Delta bluesmen…just pick it up and make it sing. It is also rare they experience the infamous “creative block” – on the contrary, most do not find enough hours in the day to fulfill their creative desires. And they generally don’t work with models, sophisticated technique or expensive supplies...in fact, many are seen as fringe- dwellers who prefer the company of animals, objects and personal visions to people... quiet independence part of the Outsider artist’s personal credo. Although their attachment to public opinion is fragile, it is essential their art be shared. It carries a vital message (usually in a raw/organic/storyboard form) for those who care to listen. And while the majority of the work will not match the sofa, nor likely be found on Sotheby’s auction list, it is genuine, sincere and heartfelt. There is nothing pretentious in Outsider art. It has soul. Whether a descendant of slaves painting visions of “haints” on a sheet of corrugated metal , an English eccentric constructing mud castles & elves, or some Southwestern free-spirit creating a garden of primitive enchantments; all are motivated by a purpose beyond the ordinary. They call upon a greater power, and the call is often heard...granting the gift to continue the journey until the art and artist are one. |
| edited and loved on by krisanne lancaster, all rights reserved. no part of this article may be reproduced without the express witten permission of cloudwatcher studio; j.r. and krisanne lancaster, the ones to talk to. |
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