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Show 1 I in, .I, I. . if,- ! c3 1 'J -J f ' ' J l! j if . I I J j i ' - ; i it h - -"" c 4 1 i j j t , S ' s I Judith Peters, a junior studying sculpture. She said of communication "the common language in mature art is appeal to the universal un- counsciousness." Each different person has a medium of expression which is best suited for him. his talking through his work. He thinks that people talk too much and don't work enough. "Art is isolated from the University and this is wrong. Art is an everyday experience," he said. He thinks the art building is very impractical and there was a sense of competition between the faculty of the Department of Art and the archetects. "I have a special way in which I can present a visual image and I think that the University should utilize it. This is my world and they (the rest of the University) rejected us. There is no integration what a loss," he said. Rulen Smith, a student atudying painting in the Department of Art, says that "pictorial space is more intellectual for me. Three-dimensional Three-dimensional space is actual space. You can touch, look and move around a piece of sculpture. sculp-ture. It changes with the time of day, light conditions and your mood." By). A. KESLER Chronicle Staff Mt follows nature. Every work of art can be traced to some natural organic origin. Man's differentia--Son from animals in one of reflection. re-flection. Thus art survives. Alien a person begins to look riside of himself, to analyse the shys and the whats of his Mtence, he is beginning to jnderstand his nature. This is the Ming point of the creative urge. The ability of the hypothetical nan to express his reflections aphis inner-being, his thought, us feelings, his attitudes towards ife and his survival in modern iety, in a medium which he md others can view, is the artist. Conceive form in depth. Clearly indicate the dominant planes. imagine forms as directed towards you; all life surges from a center, expands from within outwards. In drawing, observe relief, not outline. The relief determines the countour. Themain thing is to be moved, to love, to hope, to tremble, to live. fea man before being an artist! us. There is some sort of communication com-munication going on. I show through my paintings moments of my idiosyncratic self ..first to know where people were at and allow the painting to have some of that quality." ".. Illusions of the world in rectangle. . .relaxing into myself. What do you paint about? . . first losing my self-consciousness so that I can paint about me and beyond that about us, the whole macrocosm, everything. . . more abstract notions and time... time-space relationships." He goes on by stating about sculpture, "I could build these things, Richard Johnston and Angelo Caravaglia put things together very well. It is cheaper and easier though for me to paint them. It is the only way we cope with a certain feeling about ourselves." As to the public, he says, "they are willing to search inner-being through other people, based upon accepted standards of searching." He goes on further by saying "the artist can invent his own criteria, that the artists' personality is one that synthesizes and the non-artists' non-artists' temperment breaks down, pulls aprt, typical of the scientist." "Through my painting," he said, "I want to give people a new awareness about themselves and their environment. People have picked up from my work simplicity, sim-plicity, order and yin and yang. I feel there is intuitive feedback." His work is involved with investigations in-vestigations of pictorial space. Karen Hanson, an undergraduate studying metal-smithing with Richard Johnston, says of communication "it is more of myself learing to appreciate well-designed well-designed and well-made work." She can "pick up a pot someone else has made and can appreciate it just by handling it." "I am a three-dimensional person. I can draw well, but what I do in my spare time is construct things-l just like tactile objects and I can't pick up a painting and handle it. There is a lot of satisfaction for me in watching the shape happen," she said. "I seem to have an orientation for three-dimensions. I think . in images, in shapes. It's difficult for me to draw convincingly and much easier for me to sculpt it. It is easier to construct a thing then to draw it or point it," said RODIN ;Vhen You speak of corn-nation corn-nation within the arts you first think of the priorities. ; ere aren't any artists who go e and paint and then burn 'eir paintings. ;'e the communication is is a '.; "I .question to answer. The bilih, ? Pr,oritV and responds respon-ds to himself, if he is being e 1 a"d realistic. The public responsibility also. The PessineSnSibiIitv is one of ter ( 95 no alternative of expression than nli. non-verbal. The ' tV of the Public, the 8ht o th8'Ve some time a"d 8nt to the artists work. !auhh,'!iSsistant Professor of , 0r he University, says my 'c T flrst' me' beine in 'W' Indin8 out who! econd how I show me to Richard Johnston, assistant Professor in the Department of Art, says of his work: "All of my concepts require space and time, therefore it is easier time wise for me to construct these things." He says he is involved with the technical manipulation of materials. His background is one of an industrial-mechanical design origin and he says that his things have to have feeling and be alive. His works are rigid yet have kinetic energy in them, he added. In addition, he said, he has no social comment to make, he is not that type of an artist. He says that his work is "sort of frozen glimpses or images-perceptions." Angelo Caravaglis, professor in the Department of Art, says his first priority is his work, then his teaching. It is only natural for him to do his sculpture and he doesn't question his purpose. "I have a lot to say," and he does |
