Originally Posted by evaldart
You bothered to write in the fellow"s book...and took no responsibiltiy for what you wrote. Weak. Thats all.
Well... it was all- until the selfish act of conceit was flaunted here, then obstinately defended.
I pretty much despise all jazz that involves more than a piano. I don't go out of my way to hear it, or to voice my disdain for it- as doing so would be perversely destructive.
"Autodidact" means "self-taught", not "can't learn from others"; there are learning opportunities present when confronted by work that others admire, but we do not. Expanded understanding/perception doesn't mean embracing and incorporating, or the attenuation of our own vision. It may very well be that Adolphine had no worth wild contribution to make to the painter; if the work hadn't been regarded -perhaps out of jealousy- as an affront, the painter may have had something of worth by way of education to offer Adolphine. Even the rice farmer has something to teach you- if you know how to learn/listen.
Gimmicks oft taint what might otherwise be sound work- be it quantity, contrast, scale, abstraction, super realism, the absurd- what have you. Is the quality integral to the work, and does it speak favorably to some portion of those experiencing it? Regarding Jeroen Vermeir's work, the prevalent prominent ribs seem an artistic affliction- stuck on a theme that isn't developing toward perfected expression, just more of the same. While Vermeir may wish the power to trod Godzilla-like across salons and coffee shops, forums and communities that speak critically of the work, we remain fortunate that there is no such potency behind the tantrum. Sadly, ego rejected interest beyond control- we could have had such a lovely conversation...
Wrapping the topics of critique and prejudice together, I'll make another admission: I prefer representation and narrative over the abstract or the subjectively pointless. Turning to the work of an artist that has proven a predilection to pontificate, Adolphine's “Religioussily” provides me a mixed challenge: figurative and abstract, the symbolism appeals to my desire for story. A bit of a cypher. For me, the seated figure blocks the perception of the larger figure, while looking inward- a warning. A bit preachy, unsubtle- as intended, I suppose. I wonder, though- were it not for the shared symbolic lexicon, how would I regard the work? A bit esthetically off putting? Some work that I have deep affection for, I initially found distasteful. Time will tell.