My girls wear clothing, trinkets, jewelry, makeup, AND adhere to beauty standards because of the pressures of a market that said “this is your identity, come buy it.” and after decades of subliminal influence, we’re suppose to blame girls for falling for it. I think this is a good start, for a partial concept/influence. Honestly though I’d call it more of an influence for the work, as the actual concept, or purpose, will be defying the imposing culture and empowering women. When I paint the girls wearing accessories I want them to reference original creations handmade by girls rather than divisively marketed mall crap. Empowering self built feminine identity will be the center-point of this series. I’m very tired, I need to call it a night, we’ll reconvene in the morning. It’s near 5am jfc.
Everything that led up to this:
So, apparently influence and destination (what the art sets out to do) can make up most of an artist’s statement. Originally what I thought it had to do was a) observe what the art is, b) how it’s made, c) how the purpose of the art is explained objectively by a). And finally d), what led the artist to make it in the first place. I’ve read statements where c), purpose of the art or meaning, accounted for most of the statements body while glazing over a) and b). I’d almost be able to say it neglects d) as well but in many example statements I’ve seen tonight, vaguely tossing d) inside a c) somewhere seems to be preferable to examining it by itself. In their shoes would do the same I guess, seeing as the two topics correlate so closely. And after all the shorter the statement the better right?
After realizing that, writing the damn statement would be easier you’d think.
Sadly, not knowing fully what the purpose of my art is let alone how it correlates to just what it is or how I made it, is the hitch. And you can’t just simply elaborate on a general concept even if you’ve got one, Because a statement shouldn’t ramble or force meaning.
Picking a meaning that corresponds organically to your artistic process is vital first of all. What good is the statement if it doesn’t accurately reflect the physical body of work? For now let’s assume it does, then there is the next hurdle; How to write about c) in an objective tone while, by use of appropriate working, make it read well for your art?
It’s a tricky thing to appear to be neutral on a subject but secretly glorify it.
Remember I said let’s pretend we decided on a concept? Well I haven’t, not completely. At first I had a vague concept. I thought my art should be about meaning having no meaning. This is a purpose that needs to do nothing to have a purpose, It’s a cop out. I just wanted to validate my art so I could keep making it just the way I want to. I never need a reason to do that, but an audience needs me to. They need to know what the art represents most accurately, which is a concept more tangible than a paradox, and be more meaningful than a personal preference (my personal preference for painting cute girls.
I just answered my own question if you read that insightfully.
the concept is my preference which comes from having a positive association with a thing, consciously or unconsciously. Either way, the best concept you can use for your statement will likely also be the source of the association. Digging through your own mind is how you find it. I’m sure liking girls romantically motivates my preference, but not consciously. The biggest reason I probably like girls a lot...is because I was conditioned through media to like girly things, and girls just happen to be the only socially acceptable models for sporting girly things.
Yes, I’m listing industry driven cultural brainwashing as the source of my preference. And Yes, it shows in my art.
