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Sharing Our Intimate and Personal Relationship To Art

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The process of sharing our intimate and personal relationship to art is often a confidential aspect of life that is rarely bought to the surface through critical debate, the artist is often praised and understood but how we as an audience 'feel' about works is often left as an unsaid. Debate is dictated and discussed from a place of understanding of  the artist and how the art work relates to context, space and other works. However its how we personally relate to the works and the challenges of that experience and sense of connection that often keeps us in a place of interest, dialogue and position with the ability to move forward and be constructive in communication, journey, realisation and self knowing. Some works attempt to relate to a feeling, others a concept, some a space, an impression etc, we could go on through the art history of our time. However, how often do we focus on how we relate to art work and the relationships developed through artistic practice because the art work is simply 'present' in the world?

Take for instance the painting in the work of the photograph, taken at the Bologna Art Fair, here we have a women who is seeming to be wearing a bridal gown however her red dress suggests she is a mistress, in the photograph, we have played with this concept, Stefano W. Pasquini, Annalisa Cattani and myself enjoy looking at how art work nourishes us and feeds us through our relationship to it, thereby bringing this context to the work and enabling a relationship with a role play and in the developing of understanding. However, none of us were willing to publicly share how we really felt about the work because of the context of our own personal feelings or journey with relationship, or what was our 'true' role in the 'play' with this work. We thereby allowed a private moment of shared interest in which we could talk 'off the record'. However, in life I feel its these discussion that are actually the content of interest and learning and the aspect that makes art a nourishing part of life; the experiences and the learning through those experience's that are aspects worthy of sharing in 'true value', needing a position of non judgement and emotional connection in a way that allows 'safety' in vulnerability; aspects hard to find in critical dialogue with art talk. However, I have realised it needs a professional therapeutic approach to bring 'safe' context to these relationships which maybe why often the discussion are limited to theoretic and critical debate.

My friend artist whom you see in the photograph,  Annalisa Cattani has a sense of awareness to artistic practice through 'relationship', through her art practice she puts an ability to value the power and gift of the journey of relationship in its transitional nature to a point of undefined expansion. She has realised that through 'communication' content takes an abstract and creative form of conscious awareness and knowing. She therefore can 'mediate' the links and connections and help with the journey of artist to object, from feeling to impression. Thereby she creates a another way of valuing the essence of art, a conceptual aspect hard to capture or to objectfy but relevant to emotions and intellectual understanding experienced through inter- action with her.

This is a step away from art object, objectification and in doing so creates a new way of 'property', a phase of art practice coming into being with the shifts of 2012. Here we are able to value the 'intellectual property' of concept, mediation, creative expression, philosophy, psychology and art practice. Its time artists started taking on the responsibility of their endeavours, it can be very easy as an artist to have idea after idea, being excellent at communication, creative expression, sharing ones inner self, taking these aspects for granted, thereby giving others the right to do so to and ending up only valuing the finished product not the vision, journey into becoming or conversations or debates in between.

Here we see the value of moving away from objectification and in to the art object from a place of conscious 'intellectual property'. I hoped to see these movements at the art fairs, of stands being set up with service products ready for the masses to buy in to, from concept to product, demonstrating the expansive nature of creativity and the infinite possibilities of co-creation in many different fields beyond 'traditional' art practice.  The art object is of course still just as valid, but why not sell the idea, in the first place, with the intention, the energy of manifestation. We live in a world in which these aspects have to be valued by the individual to be visible and valued as otherwise commercial exploitation becomes an inverted experience in which the artist ends up living with bread and milk unless in relationship to mass market. By taking yourselves seriously and your artistic genesis, you start to redefine the objectification of your intentions. Originally, when looking at this subject I considered the abstract intellectual aspects of ideas, communication, development and vision to be to abstract to be made in to object and then I realised the rest of the world lives with intellectual property, objectifying all elements of creative process. Here I realised this is my misgiving in myself, by taking these aspects for granted I was not clearly defining my art object, my ability to bring vision, to be an active philosopher, to 'lead' communication, to work with the psychology of self expression in a way to bring transformation, to heal and inspire. It is true, that over the years I have 'packaged' many of these thought forms, known well as a 'psychic healer' and 'visionary' by many audiences, however I am also a writer, a think tank, a mediator, a painter, a creative, in development and I bring that expertise to all areas of creative communications in all creative industries, the power of the 'word' to me is just as powerful as the visual image so I have developed skills in using the 'word' as a device of transformation, creatively in songwriting, 'journal'-ism and creative writing.

Hereby we become a curator of our own destinies, in the same way that I provide a service in the sacred care of peoples souls and in the creation of art objects I am becoming objective in all aspects of creative integrity, to stand up in a world of commercial exploitation with my rights to provide a service in consultation, communication, development, visionary and manifestation of the profound and beautiful aspects of creation by fully embracing the spirit of creation, manifesting physical object and property from a place of divine right and freedom. Words/Photo© Amanda McGregor 2012


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