How important is Jóhann’s contribution to the 21st century?

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Jóhann Eyfells with M.J. Neal

“We shall never surrender”. Those were the words that Winston Churchill pronounced at the wake of the Nazi Invasion of France in 1940. In 2017, there is another invasion that has been going on for many years, perhaps decades, and that is the mediocrity of art and  of the apparent corruption that seems to have permeated the Art world, where art is considered to be nothing more than a commodity and a means to exclude and even extinguish out of existence many meaningful and important artists of our time. Art can be equated to mean anything that requires a certain level of creative planning, execution and outcome. The outcome of that narrative begins the moment the art piece, like a sculpture, is shown to a receptive audience. However, what determines whether the art is successful and important is not necessarily through exhibition, peer or public scrutiny, or how complex and successful the narrative is, but rather is sometimes judged and priced arbitrarily by an elite group of art buyers, collectors and critics.

The question is how do we know if the art is good, and how can we determine that for ourselves? Some say that “art is subjective, and not all art is for all people.” Whether someone likes it or not, art should have a number of criterias that can determine whether the art is important and meaningful to someone(s). Here is something I found that might guide us a little.

“How to Judge Art: Five Qualities you can Critique whether you’re an Artist or not.”

“The characteristics I found were beauty, skill, inherent meaning, uniqueness, and fulfilled intent. I’ll explain each of these throughout the article.

I’m convinced that anyone can use their own fundamental knowledge to compare artwork based on these five inherent properties. Even if other people have a different opinion than you do about a particular work of art, this article should help you explain how you came to your conclusion.

All right, so on the basis that all art is not created equal, let’s get to the nitty-gritty and break down these five characteristics of art.

Beauty in Art

Beauty is, and always will be, in the “eye of the beholder.” Your decision about the beauty or lack of beauty in a particular work of art is instinctive and natural. In fact, you probably won’t even have to make that decision, you’ll just either be captivated by a piece of art or you won’t.

People within the same social context often agree on what is beautiful, so you’ll probably find others close by who will like the same things as you do. Some aspects of art that are generally appealing to people are:

1. Repeating shapes, patterns, and symmetry.
2. Colors, especially colors that complement or enhance each other.
3. Textures, both visual and physical (like thick, impasto paint).
4. Crops and compositions that focus the eye and keep the viewers’ attention.
5. Movement or flow to guide viewers through the art.
6. Correct or appealing proportions of figures and objects.
7. Presentation and framing.

You won’t need to take a checklist into the galleries for this since your eye will naturally be drawn to the art you prefer. Like I mentioned before, this is the easy one. All you have to do is answer the question, “Do I like this?” Of course, if you decide to ask why you like it, then the list above might come in handy.

Cezanne still life with table

Skill and technique

Technical skill is the most comparable and measurable aspect of art. As you look at a painting (or any other work of art) you probably will be able to determine how skillfully it was created simply by comparison with other works.

First, compare the works to other art you’ve seen in that medium before – if it is a painting, for example, decide whether this artist is more talented than others you’ve seen. It might be difficult if you’re just starting out, and in that case, don’t let it worry you. It will only take a short amount of time for you to see the differences between a skillful painting and one that’s poorly done.

Second, look at all the artwork on display by the artist. You might find that some are more impressive than others, or appear better made, and you’ll certainly have an idea of one or two that are the best out of the entire group.

Third, look at each work of art itself. Are they individually consistent? Are there places that you can see odd markings compared to another area within the same piece? Sometimes art may look rushed or strange, but if it is created in a similar fashion throughout the entire piece then the effect is most likely intentional. If not, then that work may not be as good as some others that are more internally cohesive.

Judging the level of skill in a work of art is probably the most difficult thing I’m suggesting to do in this article. Over time and with more exposure to art you will eventually come to a greater understanding of different mediums. Plus, if you’re lucky enough to be an artist yourself you’ll probably find out that you instinctively have a better grasp of other mediums already.

cezanne apples and oranges still life

Inherent meaning

Art is powerful, not just for its beauty or the talent needed for its creation, but because it can cause emotion, make political statements, or challenge preconceived ideas. Of course not all works of art are intended to be so thought-provoking. A still life of oranges and apples, for example, usually won’t have a deeper meaning. If it does, I think the artist deserves more credit than for a traditional still life.

Here are five levels of meaning in art, which I’ve listed in order of increasing importance.

1. Purely representational art – Made simply for visual appeal, with no deeper intent.

2. Art that references other art – It “tips its hat” to some other work, possibly providing a fresh perspective or continuing a conversation that another artist began.

3. Art that tells a story, or evokes a specific emotion – This is art that begins to affect you. It might cause you to understand, empathize or feel what’s being depicted.

4. Art that makes a statement – Here the artist is clearly speaking through the work, actively promoting a cause or perhaps bringing attention to an issue that’s important to him or her.

5. Art that is an allegory or metaphor – This is art that contains more than one meaning, and possibly several. It use symbolic imagery or deal with more intangible human issues, and yet the artwork should still work as a visually appealing creation.

Look for these when you look at art. Finding meaning or emotion in art opens up a whole new realm of enjoyment, and will deepen your appreciation of artists who incorporate it into their work.

Uniqueness

This is the aspect of art which relates to not only what the artist is depicting but also how the artist is depicting it.

Good art either explores new subjects, or old subjects in a way that hasn’t been done before. When you look at art, ask yourself what (if anything) is different in the work from all the other art you’ve seen. Sometimes it will jump out at you, sometimes it won’t. If you do notice something different, decide for yourself whether that unique quality distracts from or enhances the piece.

There’s a happy medium, I believe, in finding art that stands out from the crowd but doesn’t use gimmicks or cause distractions.

Fulfilled intent

What is the artist trying to say? I hear this question a lot, and for the most part there’s a simple way to find out. If you’re at a gallery, read the artist statement. Many artists just want to accurately portray a subject, or to express an emotion. The important thing is for the artist to be in control of the art. If the intent is one thing, the art shouldn’t say something else. The artist statement should deepen and strengthen the viewers’ understanding of the art.

Cezanne still life with flaskI’d suggest that when you go to a solo show, briefly scan all of the works being displayed so you can get an idea of the artist’s style and note any constant themes, emotions, or ideas.

Then go through each piece of art again, but more slowly, to really study them. Take your time and determine what you think of each one according to the five characteristics mentioned in this article. After that, check out the artist’s statement.

Compare the artist’s intent with what you had previously understood the intent to be, and then armed with that knowledge (trust me, sometimes it’ll blow your mind) make one last round of the gallery to see how your opinions have changed.

If you experienced the artist’s intent before reading the statement, excellent. If you only got it after reading the artist’s statement, that’s OK too, just not quite as good.

This method keeps the art from being overshadowed immediately by what the artist is saying about his or her work. It lets the art speak for itself, yet the artist still gets a chance to clarify what is meant in case you miss the point on your own.

Of course, if you can’t even understand what the artist is saying in the artist statement, then just try to enjoy the art for its visual impact and don’t worry about it. The intent probably wasn’t very clear for that artist either.

To sum it all up:

Good art should appeal to you. It will be skillfully made, most likely by an artist who has created other works in a similar fashion.

The best art has meaning beyond just an image; perhaps it will bring you to tears, make you laugh, or remind you of something you’d almost forgotten. It also stands out in a crowd, and dares to be different.

Most importantly (in my opinion) good art is understandable, although it may make you think in ways you never expected to.

I hope you found this article helpful; I know that in writing it I’ve solidified some of my own views about art. Feel free to send me your own comments or feedback as well.”

*All images in this post are details from still life paintings by Cezanne.”

In the end, art is nothing more than a commodity, and its value is arbitrary, unless someone(s) is willing to break the mold and take the risk and forfeit actual money for the piece, due to its inherent value to the collector, not the value determined by those market forces. People who have the means to buy art are less likely to forfeit money on art that is not deemed “marketable” in the Art World. If the work is not deemed valuable by market demand, than the art is “un valued.” By the way, not all marketable art is good art, and it seems that the world has ignored that fact for many decades now.

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Jóhann Eyfells, at 94, is without a doubt one of the most diverse and important artist of the 20th and 21st centuries. However, the recognition he has sought has been as elusive as the collectors for his work. Why? Very simple he doesn’t play the game that most recognized artists have, and he is to many collectors, buyers and critics untamed and enigmatic. His body of work challenges the viewer by its impressive forms, diversity, physical size & weight, and its inherent deeper meanings. He is one of the most true and honest artist that this world could ever hope to produce today, whose creative process is deep, precise, and multidimensional. He brings to this world an opportunity to not only peer into the unknowing universe that resides around us, but also within our own consciousness. He needs our attention, because this world desperately needs him to help us out of our mediocrity and growing lassitude.

 

 

Jóhann Eyfells will never surrender because what keeps him alive is not whether he will be accepted, appreciated or if his work will sell, but because he embodies the spirit of an artist, continuously searching for the opportunity to express what words can’t possibly express about ourselves and the universe we belong to.

 

 

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World Premier at the 2017 Hill Country Film Festival – April 27-30

 

I don’t know if I am awake or dreaming any of this, or if in fact the making of our film, A Force in Nature, has reached its final conclusion, giving way to a new phase in the film’s life cycle. We helped it along through its conception and development, and now it’s about to be born out for the world to see and experience for the first time.

Finishing A Force in Nature was undoubtedly a personal challenge for me. Through the course of the ten years of production/post-production, I would often wonder if it would ever get finished, especially since this film was mostly self-funded. The close collaboration I had with co-producer and editor Vishwanand Shetti (aka. V.) during the past 6 years was not only an extraordinary opportunity to learn the art of perseverance and patience with getting the project finished, but also afforded V. and I the space to explore the depths of Jóhann’s life and his thought provoking art installations.

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The 2017 Hill Country Film Festival will be where the film will have its first public exhibition on Saturday, April 29. For me personally, this process of making this film has also fostered a long and lasting collaborative friendship with both V and Jóhann Eyfells, who continue to have an unwavering influence on me as a human being and artist.

Being an artist is nothing short of insanity, yet its the type of insanity the world needs right now, desperately! Its the right kind of insanity, in which we are challenged to allow ourselves to experience the unexpected and spontaneous, and be aware of the forces that keep us complaisant and indifferent. When taking action or making a gesture, an artist does so without hesitation because he/she knows that the expression itself has to be authentic and immediate. The artist does not allow fear to dictate the decisions and choices he/she makes, but rather fear is merely there to signal that an action and/or thought is to take place.

As is often the case, when in the presence of Jóhann, one is constantly put to the intellectual test. Recently, Jóhann Eyfells and I discussed the difference between the concepts of “instinct” and “intuition”. He asked me if I knew the difference. Hesitantly, I responded that I thought I had good intuition and instinct and admittedly used both words interchangeably, not really aware of the difference. Jóhann was quick to point out the difference to me, explaining that “instinct”, which comes from deep within our nature to feel, is spontaneous and tireless, while “intuition”, which is more connected with intellectual reasoning, is more deliberate and sluggish. That got me thinking. Once more Jóhann challenges me to get in the ring and participate in the fight against complacency, and to do that, I must be willing to jump headfirst into the dark abyss, in other words, the unknown.

Do you know the difference between “instinct” and “intuition?”

Hayden de M. Yates (director and co-producer)

Visit HillCountryff.com and book your festival passes now. A Force in Nature will be screening on Saturday, April 29 at 11am.

You Asked Me to Explain Jóhann Eyfells: In the spirit of “Receptualism” or “Uncreationism”

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Our Problem:  The Unconscious versus the Conscious. All great activities escape consciousness.

I assume it is a fundamental trait of human nature to desire an explanation when faced with something unknowable, or in other words to be comforted by something that can “only” be sensed. As an abstract artist in the modernist tradition, I generally shy away from trying to explain the “unknowable” that belongs to the eternal nature of all things. On the other hand, I am always more willing to make an attempt at unraveling the categories of an infinitely active beginning-less and ending-less continuum, which is always implicitly present in all creative manifestations. Additionally, and perhaps more fundamentally, I would also be more than willing to attempt to unravel and elucidate the infinite ability of “our” creative unconsciousness to reach beyond anthropomorphic concepts of symptoms and symbols, and thus try to penetrate into the obscure conceptual categories of the unconsciousness itself.

CHANCE

The driving force and the only unifying factor behind all of the investigative endeavors as articulated above can be made more specific by the employment of the all-inclusive, yet radically dualistic and ambivalent term: “operational necessity.”

The reader will most likely recognize the term from the vernacular of industrial or military strategies, yet this expression has a much more immediate and radically different dynamic application in the domains of philosophy and art, the two domains where our use of the phrase, “operational necessity” exemplifies a momentary rejection of all established values. If we imagine two unequal and irreducible forces, one dominant and the other dominated in close proximity to one another, then what we witness at the very moment when they enter into a relationship is a necessary formation of a whole or an absolute birth of an “event” which cannot be scientifically verified. It is only to be observed and perhaps described. Thus our “operational necessity” serves no established patterns and is of the kind that contains no known causes (no know “WHYs”). This enigmatic, yet super-positive version of our quarry contains, however, a totally fresh “uncreated” and an almost esoteric essence or a will, which appears or turns out to be necessarily constituted by two irreducible halves, Chaos and Circular Motion, where oppositions do not exist. Thus our quarry becomes the “embodiment” of the impossibility of the existence of “absolute” wholes, but exemplifies instead, the ceaseless and absolute genesis of something. Again our “operational necessity” must thus be recognized as the thought of pure becoming a momentary creation and a chance occurrence. A specific yet unbiased “example” would be “THE THROW OF THE DICE.”

Furthermore, and concretely, the double meaning of “operational necessity” depends on whether we affirm our own difference (positively) or deny that which differs (negatively). Finally and most deeply, “operational necessity” is defined negatively as the ”affirmation” of established values and positively defined as the transmutation of all known values.

Similarly, the multiple phenomenon which I call “Singularicity” exists as a unique whole or being of sensation that cannot be measured or compared. It can only be sensed. It is the kind of complex unity that ideally would exemplify the union of life and thought, sometimes referred to as a “pre-Socratic unity.”

 THE ART

This is the essence of art. It can only be affirmed as a necessity of chance (i.e. as a creative thought). What occurs in the innermost nature of my mind as I imagine eternity or infinity is the concept of the (new) positive version of “operational necessity”, i.e. only the affirmative and positive kind as articulated above. I have no choice but to act in light of this joyful and profound event. Thus, I am attempting to express through my work infinity joyously announcing itself. Poets and great composers of music are pioneers in similar pursuits, and I would go as far as to say that this mode of being could become a universal human quest, entirely momentary and positive.

In reference to my work, the reader inevitably will be aware of a physical rupture of a continuum as is clearly evidenced by my spirals and even more so in my dissected cubes and rocks. And it is surely the space in-between that becomes a domain of revelations and that will elevate our perceptions. I strive to evoke a sense of an eternity of aesthetic invisibility into my pieces. It is my hope that this infinitely repeated aesthetic “something” is there as surely as are the support structures and the pedestals that I build to support each piece.

All authentic aesthetic feelings that are affected by a work of art must, ideally gain their tone meaning as the magnificent gifts from outside that I strive to portray. Much rewardingly, I have had people look at my work and tell me positive things I could never have anticipated. Occasionally, I have been elated beyond measure by some viewers’ reactions to an art piece I created, and of course, I have been moved in similar ways by the work of my fellow artists on numerous occasions.

 THE MOVIE

Does “exterior reality” sometimes feel like we are in somebody’s movie? Do you “almost” hear and see the unknowable script echoing in and passing through your head as you keep wondering what existence might conceivably be about? Does the unknowable leave you unsettled, feeling incomplete and skeptical? Don’t despair…confronting the unknowable is the concrete form of the human condition, and we must have total faith in and embrace this feeling of radical ambivalence, because it initiates the necessity of our faith in the world and that which becomes the fundamental source and cause of everything, a sort of a “womb” of absolute genesis or that which I call “only a birth”. It exists as the entirely momentary fact of living or the glittering “Being” of the flash of eternity. It is the inside of the inside, a version of infinity that wants to show itself. That is the “durational” movie you and I are in; a movie that is the highest functionary of what IS – a power that has the ability to instill in us as deviations/spirals, again, or eternally “once more”, faith in the world, and only new faith in living can re-join us to the movies’ script: “our” seeing, “our” hearing, “our” feeling, “our” loving, “our” creating, etc, etc. Embrace it! We (as dispersed absences of the origin) call it “Receptualism”. Welcome it!

I = M∞2

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