July/August/September

2008

Evil Eye

My interest in the traditional "evil eye" has grown alongside the development of my blown-glass rondels, and watercolors of simplified floral "blooms". Researching the subject has provided me with insights into historic, cultural beliefs that now inform my work. I feel that it is important and appropriate for me to share some background information on the subject of the "evil eye", so that you will have a basis by which you can approach this facet of my work.

The "evil eye" is a folk belief that is commonly understood to be a sign of trouble, which was first referenced in cuneiform texts of some of the world's earliest cultures (Sumerians, Babylonians and Assyrians) from around 3000 BC. It is often thought that envy is the root of the "evil eye" belief. A person with good fortune - having beauty or possessions - might experience immediate misfortune if someone looks at them with an "evil eye" or an eye of envy. Though there does not seem to be a common definition or specific understanding of what troubles come from the experience of being gazed upon, misfortunes can range from mild to extreme - from the simple loss of possessions to death.

A reference in Wikipedia states: "In many forms of the evil eye belief, a person - otherwise not malefic in any way - can harm adults, children, livestock, or a possession, simply by looking at them with envy. The word "evil" can be seen as somewhat misleading in this context, because it suggests that someone has intentionally "cursed" the victim. A better understanding of the term "evil eye" can be gained from the old English word for casting the evil eye, namely "overlooking", implying that the gaze has remained focused on the coveted object, person, or animal for too long."

Since these beliefs and concepts have been around for thousands of years, cultures from around the world have developed unique "protective" devices to ward off any misfortune that might be caused by the "evil eye". A number of these protective "apotropaic" talismans resemble an eye consisting of concentric blue and white circles. Upon seeing these interesting visual devices I couldn't help but notice the similarities with my watercolors and blown-glass rondels.

The underlying concept and aesthetic of the evil eye continues to motivate the development of this aspect of my work. I hope this has provided some insight into the thoughts and images that have influenced this body of work. If you have thoughts or reactions that you would like to share please feel free to email me.

Stripped bare. Simple essence. Structural economy. These notions are informing my thought and physical processes as I approach my studio work. As I have previously mentioned in earlier newsletters, I am seeking to find the point where visual and conceptual simplicity creates the maximum amount of power to engage the viewer by eliciting depth of thought and core emotional responses. A fundamental beauty and serenity is experienced when superfluous details are stripped away. Then the bare essence of visual form, color and idea have "space" to expand.

This may sound contradictory, but I believe setting personal, creative parameters can ultimately be liberating to the creative process. Follow this line of thinking for a moment - by refining your creative purview, the depth of a specific concept, visual structure, subject matter, etc., can be explored with confidence because of your level of experience within the boundary that you've established. In a sense, you develop a competence or expertise that enables an invigorated creativity. I must also mention a warning though: this method of working can become a detriment if the artist loses interest or passion for the work within the boundary. A passionless pursuit done solely out of a desire to simply remain "comfortable" becomes shallow and hollow and loses it's power to impact those who encounter the work.

With those ideas in mind, I continue to find fascination and energy while exploring familiar forms - forms that I have known for over a decade. For me, they have become vehicles of unlimited expression that feed a continued creative curiosity.

Under The Radar

I have come to realize the benefits and advantages of living in an area that is not currently known to the art world as a vibrant "art center". It's liberating to be able to develop a personal vision and work-style that exhibits a freshness unencumbered by the current fashions or trends that seem to quickly cycle through more prominent art communities. I also find that the pace of life here in Walla Walla offers a greater range of opportunities for reflection and concept development.

During a recent trip to New York I talked with art dealers about the pressure to "stay ahead of the curve" in terms of identifying new trends and "cutting-edge artwork". We discussed how the continual search for the "next new thing" stamps out the possibility of exploring the depth and breadth of an artist's career. It seems that the cavalier pervasiveness of our societal "throw-away" mentality has permeated the art world too. Now don't get me wrong, I'm all for creativity and I personally seek to push my own work in new and exciting directions, but I think that many artists, dealers and collectors have been persuaded that the ultimate importance is to put the "push for newness" above all else.

Living and working outside the larger art communities is quite a bit like creating under the radar. Here, I don't need to worry about conforming to community dynamics or staying at the forefront, just for the sake of being "new". Rather, I can focus on my creative vision, which remains largely free of the trends that are continually changing in the art world. You'll undoubtedly notice that this allows my work to stand apart from most other works that you'll currently see in galleries. Being afforded the opportunity to develop my vision over time gives the work a true uniqueness. This "stealth" creativity gives me time to become more familiar with my work, which in turn makes each piece more confident and well-rounded. In my younger years I thought that I needed to live in an "art mecca", but I've become assured that the work I desire to make will be made more effectively if it's created away from the hustle and bustle and "under the radar".

The Companions

"Monument for Eternity" was a commissioned sculpture that celebrates and commemorates the recent marriage of two friends - two truly beautiful people. This piece creates a strong visual representation of two lives committed to each other as lifelong companions.

The individual vases, created from the same underlying structure, display unique surface ornamentations that point to inevitable individualities that differentiate us one from another. The vessel forms, while hinting at humanity, create layered metaphorical potential and display a strong iconic statement.

I was honored to have the opportunity to create a piece for such a memorable and intimate occasion. Congratulations Marika and Mark! Best wishes.

The Allure of Walla

This town, nestled in the southeastern corner of Washington State, surrounded by vast acres of wheat, onions and grapes, has an allure that is drawing people here from around the globe. Walla Walla continues to be a place where people can focus on pursuing their dreams amid a community that is ripe with potential.

Fifteen years ago, after Amber and I moved here from Hong Kong, we had a sense of that potential, and we enjoy being a small part of the evolution that this community is experiencing. I think the appeal of this place is different for everyone, but I also think that those who have chosen to live here all see the opportunity to make a lasting impact well beyond this little valley.

Living and working here has afforded me a unique opportunity to develop my creative vision, which seamlessly dovetails with my lifestyle aspirations and philosophy. I hope that in the near future you'll plan to visit and experience the allure of Walla Walla.