Brian Oschwald ART Ideas, Intentions, Means & Results
The Noirest of my Betes:
ART IS NOT A SEDATIVE FOR THE THE RICH -although in history it may always have appeared to be just that. Art ! of every kind ART, the most targeted zone of entitled ownership interest for the “nonce” enthusiasms of the 'smart' people, with their soft stupid momentary enthusiasms, their planet-sucking narcotic comforts, their upholstered hapless soul-suffocating worlds. I lean toward forgiving; Art encourages it.
If / when a painting is not some illustration of an existing story - resist inventing a story that the painting 'might/could' serve as an illustration of. To do otherwise is more a way of looking away from the painting than of looking at it, boldly living with & into the work itself in all of its uncooperative mystery. Refrain from using the painting as a mere means to 'free-associate'. Welcome then to the tensions you are left to feel: the discomfiting, exhilarating, probing world of the maker, where Art & art-making mostly involves the process of making personal art- - not dishing up some anxiously conceived, monetizable product. Most Art, and personal art-making greatly entails questions above all, not immediate or even eventual answers.
Compelling as serious art encounters may be, it is existentially pointless for the wise to expect or demand life-strengthening clarity, cultural certainty, or wayward spiritual consolation from the art object itself. An art image, an art experience is just a doorway to a larger self finally brought about only through an ever deeper connection with other people. In each other -not in things- is the meaning we crave. Art of any kind -in a limited way- can enable one to migrate toward that truth.
History & the Future
father: near-blind architect w/zero affect. mother? - a co-depedant-ish bible chorister
i've always loved being read to
everyday i choose clothing for the the world i see inside and the music I hear inside if I don't paint.. still I ponder materials, texture, color, and design, season by season there is no greater source of aesthetic wisdom apart from nature than world ethnic fabric traditions
interests & exposure: history-hunger, academic philosophy suspicion, industrial design addiction, world-ethnic fabric cravings, traditional music longing, rose gardening discipline, cooking around & sometimes even past "healthy"
a [tendentiously] plausible future: impatient, searching color, nearly reckless GEO-storms of gestation, and strength well beyond all necessary 'breakdowns', up new pathways (sometimes placid, sometimes ominous) to a reassembled heart, toward the better (though often quixotic) conditions of breakthrough and well-reckoned transformation
wellness alert ! i notice in myself a dizziness that occurs when writing about art (especially mine). This froggy feeling emerges from a sense of the looming risk of over-simplification or empurpled over-statement that accompanies the embarrassing freedom that artists claim to suggest world defining values and meaning.
perhaps the committed art pilgrim murmurs / hopes "move me" move me deeper into myself, into what's worth living for...
can I engage peripatetic viewer-collectors who scrutinize, think, study, and query the maker & others about what they notice in life, and qualify as art-worthy subjects of delectation and debate ?
may i elaborate the threshold ? i long to 'place" what I make, not merely 'sell' it
shall i impatiently disturb / disrupt complacency with fresh astonishment, breathing the light of unique color toward a viewer's fascination with the image, offering- in essence- a magnetic, livable, unavoidable, and seriously rewarding experience -tingling the spine in anticipation of possession (and lonely meditative viewing)?
without overreach ( fighting the "artiste's" predictably defensive sense of self-importance) this art may & should exist to protect, enable, and champion the nearly measurable conditions of human-cultural flourishing
i am not afraid to contradict myself i'm not afraId of things broken -then glued back together (this is life for most people, isn't it?)
It is tremendously hard to overcome business-world illusions that benefit one personally overcoming ego (that endless force ready to subvert civic, fellow-feeling) is a gigantic spiritual leap (always darkly spring-loaded to snap! backward) it's mountainous, totally exasperating no other terms for it
what is my now-ness? here: every day standing open to sudden, often unwelcome insights, the exuberant play of insinuating nuances newly defining the 'remote' and the 'familiar'
capture ideas (prose) & feeling (poetry) emanating from long standing curiosities, battles & daily diplomacies
scuba dive a deeper sea of absorption in the work process itself, free of any presumed destination or specific 'explainable' result
each artwork here is an end in itself without reference to any external cultural project, standing solely on its capacity to garner notice, appreciation, returning the viewer to a self illuminated by emergent self-honesty
transcend life's daily MSG-marinated anarchies, the white noise of life, to notice, protect & expand single passing moments when noticing! becomes numinous -by aesthetic absorption -to capture in bloods warm longing images irreplaceable: truly common experiences of any small treasure seen large.
Influences & Appreciations
writers: Rumi, Pasternak, Rilke, Woolf, Walser, Nabokov, Stevens, Sebald, Hitchens, Sam Harris
music: most early & classical, no trivial amount of jazz, miniscule pop, all world, folk and ethnic musics, lute, viola da Gamba, the harp, woodwinds and bagpipe music
painters: Turner, Rothko, Olitski, Morandi, Diebenkorn, 'wabi-sab'i, many more
architects: MacIntosh, Wright, Kahn, Scarpa a few more
architctural sculptors: David Smith, Chaleda, Schwitters, a few others
Theory (Theoria = Contemplation, classically understood) but...what's "the point" of 'theory'?
of a painting: meaning leaps toward understanding when the 'what' (subject) & the 'how' (methods)) are in alignment
immediately, directly, by allusion and implication, beauty is real and crucial everywhere now and in all of history ugliness? thoughtful viewers gradually intuit that surface ugliness is a severe existential gateway to 'soul composting, offering odd unexpected healing or mitigation of fear, anxiety about our mortality, toward an emotionally disillusioned renewal at the deepest level of human selfhood
STRUCTURE: my understanding recognizes this in all art matters -- this personal, generative X/Y Framework : X is "Prospect" / Y is "Aspect": 1) Prospect (X):= IDEAS emerging from the artists own lived social-cultural experience and judgement - the artist's conscious, rational viewpoint as to his labors time-bound cultural sympathies, focus, depth, breadth, hindsight, and foresight 2) Aspect: (y) = all the visual, constructive style elements and evident effects of any kind whatever: derivative appropriation,accidental techniques & unique personal treatments: means, methods: color, support materials, composition, shapes, sizes, textures, X & Y are the two basic interdependent structural realms of this art, a matrix of self affimation and self scepticism
art accomplishments gradually earn their status as valuable reckonings of world-making when the work embodies compelling personal aesthetic evidence over time and circumstance for an inclusive variety of committed viewers
an art experience involves tacit knowledge, suggesting ongoing investigation by the maker and viewers as to how meaning and value are credibly birthed from raw materials + passionate labor (in so many astonishing ways, across history (histories) & cultures).
offering an art work & expecting to convey a specific meaning, or specific kinds of presumptively sharable meanings invites disappointment. is it possible to ignore this ?
re-appropriate an alternative role for Art in our culture i.e. to mitigate suffocating consumerism complacency and cynicism (at any degree of subtlety, with their pulpy muscles -deary timid & sad ] while declaiming any philosophically regressive assertions of Arts' vaunted agency as 'consolation & redemption' in just that conflicted cultural crucible is the uncomfortable place where we can most deeply learn, and come to be more fully alive in both our aesthetic joys and our existential disappointments Keats called that the place of ---(counter intuitive term)--- 'Negative Capability' -- being decidedly suspended between opposing truth claims without anxious concession to either claim
intellectual probity throughout
Research & Development
notice notice notice attention leads to devotion and illumination of new habitable landscapes previously shrouded in lazy if not willful obscurity
not without at least some humor --- a promising art soil is a lonely mind at ease with all kinds of uncertainty conceding that sanitized post-facto, spring-loaded story-making is specious
art-making - a playfully-serious way to hope, cope, contribute & honor imperfect individual subjectivity, and our thin-ish, gloaming collective life, now
each work begins with wayward record keeping / sleepwalking research into longings repetitive or never before encountered
references: garden composting, metallurgy, demolition, the hoped-for transmutation of mystery into recognition, thought into substance
studies & models: rapid configuring of short-term prescience & fleeting entitlement
Subject matter: Evocations
beauty and decay -layered, scumbled [as signature]
beckoning, nearly inscrutable instances of subtlety overlooked
gusting veils that tempt or hide, mists, fogs & scrims that demure
meditation: new dimensions of useful affect beyond habitual strident emotions
archeology & civil engineering murmured
remoteness & familiarity revisited: the collective unconsciousness honored, and the aboriginal gene pool, the dark and beckoning "UR"
geometry and the detail of garden rooms: innocence and deep place-making in the primitive outer world of our civilization-sick present moment
sensing the city, the neighborhood of dubious self-knowledge & self-esteem beneath the 'urban thrall' of the surface image
from landscapes to IN-scape toward the GEO-figuration of the self newly imagined beyond the body
Studio Process, Methods, and Materials
oblique intentionality: accidents, mistakes and unforeseen discoveries greatly figure in my work; notice here results that emerge from 'well planned' goings-astray e.g. allowing spaces to exist where markings occur without hesitation or expectation
instrumental music practiced while viewing visual works in progress
(recently, I've learned to use my carrot peeler swiping it in both direction!s wow, who knew)
oils, or mixed media on wood panel
being clear about competing virtues: view presumed certainties through lenses that distort or over-sharpen
sonic involvement: hearing the sound of my scraping pallette knife / the brush wet or dry allow the scratchy humble pencil to have its say
sculpture: material & constructs about architecture as comfort not pride, [architecture - its brooding cycles of pride, origination and decay]
Composition, form, and Pattern
pattern recognition of GEO forms & shapes warm not cold, soft not hard, suggestive not defined, invitational not aggressive, insinuating not demanding, poetic not clinical, of music not of warning, intuitive not imposed
ordering devices (ideas: kits & cases that hold), measuring devices, storage & filing systems as memory banks
varieties of symmetry and the centripetal forces of anti-symmetry
horizontal fields and networks are earthy / human, but vertical designs aspire
hand tools that reach, grasp, shape, sever or binde
rhythmic loops / visually connective sinews & tissue knitted together as visual fabric: prospective worlds & local repair campaigns in small mental neighborhoods
bright palette or dark. pastels or dusty jewel-tones colors mixed directly on surface: layered, excavated, scumbled rough /irresistibly suggestive
well broken color: zones & levels of consciousness about adventuring absorption
visual and thematic translucence & transparency, squirmy overlappings / "crabs in a basket" -"Justine"
Meaning: Resistance & Resilience
believe that what is necessary is possible then double down on being fully human, living large in a non-partitioned mind
aware of social fragmentation, and the relentless trivialisation of historical perspective and emotional honesty, we turn away from the mounting distraction, we inwardly return home to our unique understanding of how value is birthed; where responsibility for value and meaning-creation in our lives resides in our ourselves: how? (think oikos (grk): assembling available raw materials -mixing those with your passionate labor essence of world-building
world repair happens through all processes similar to art self making.
it seems that at the greatest moments of tension & promise in creating or viewing an artwork [i.e. a precious 'canister' of useful darkness and dream ] the art work ceases to be about its obvious characteristics but instead emerges as a magnetic invitation to feel and have an expanded self, ever more inclined to live large
the collection of works here aspires to rise above its effects to emblematically suggest conditions of human flourishing
hear me raw: this artist works (yet indifferently) to be free of the need to explain anything, while the viewer -fully engaged and dis-interested- permits the artist this specific essential freedom it's a shared grace in soul-making, flush with intimations of creaturely -yet trans-sensual- kinship
opposing self overreach, and of a chastened optimism, this work aggregates as a family of (country & urban) qualities of mind about the ultimate value of the arts -- in making and repairing the world-as-home.
gallery minimal, if
$8.75 sq. In. (small works) adjusted ++ for large pieces
payment plans available
Will Deal Well.
my Team -
who can 'best' Dante? "Love Awakens the Soul to Act"
who may best Dante? perhaps Simon Schama: "Beauty is a Gateway to Love"
but I say not the only gateway . Managing well the dark primitive shadow in oneself is another gateway.
What all of this writing feels like -to me-here and now?
"...late roses filled with early snow" - T.S. Elliot