Basically hoping that next year the messages I am giving out are a little less confused, in that what I am producing as art is a little more relatable but also remains interesting for me. Can feel it in aerosol and related drawing that the direction I am on is on the right track. My writing is giving me direction and a bit of a directive, my writing keeps me asking questions and trying to sort out the loose ends. The historical early twentieth century is giving me a lot to think about, I am seeing a lot in other artists’ work as well.
I was thinking about Studio Denis and his commercial mural art and also the ancient historical motifs that he uses to create his narratives. Maybe I am softening to commercial art if it has some art history narrative and even though decorative it works. I might be on a completely different path but can see the sense in making something clear. Must admit that I am still not sure how I will figure out my studio work practice next year but I feel that my drawing is something that I want to be the foundation.
A friend mentioned that you can decide what you will disclose or withhold and I think that making a clear narrative is more about that than what you do. Maybe I just need to curate my output a little more and be less forthcoming with all of the things I do. Art is more interesting for me as a focus as I feel the aerosol work I admire went nowhere and never got resolved.
This has a lot to do with fashions and the expansion of style but really it was just about ignoring certain directions and following the main narrative. Then the narratives that were abandoned become nostalgia, there is nothing wrong with nostalgia but I can see the same thing in art history although artists will carry their legacy for their career. So then the question for me is, what is my own legacy?
A lot of Sydney aerosol artists have moved with the times, possibly Paze seems the most consistent in direction, having had a break might have helped but there is a very clear path and influence. I think Jive had other things to deal with other than a clear path from his early work which is exceptional but life can be challenging. In Sydney most graffiti artists had little to no support and had to overcome any challenges in their lives by finding new paths.
Graffiti was a gateway but seeing artists make a massive comeback like Taven shows how positive graffiti really is. Also some old school graffiti writers who got caught up in crime have reinvented themselves and become mentors and motivators. Maybe Sydney graffiti is only for those that have an iron will and the survivors are still showing people how it is done. I am pretty lucky, I knew I wanted to study art and did everything I could to get into art school.
I got a low income scholarship and put myself under the gaze of many high level art teachers who were at times unimpressed by my efforts. I suppose working a job and painting walls has been productive over the years and documentation was always important. I know a lot of people who owe their lives to Hip Hop and creative dissent. You don’t have to be doing anything other than living life well and enjoying clean living to have benefited from all that inspires you.