|  |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|
 The
definition of art that I like best is that of Suzanne Langer who said,
“Art is that which makes the felt and the sensed tangible, so that
others might contemplate it”. Intuition seems more valuable than
deductive reasoning and I seek to make work which is provocative to the
viewer’s imagination. As in much of Jazz music, the content is evoked
rather than literally narrated. My interests and curiosity are eclectic.
I incorporate any techniques or materials which help articulate the
works, ideas, and feelings. Often images gleaned from contemporary
science combine with those using historical viewpoints. Sometimes images
will be the visual equivalent of some quality or essence and might be
abstract, symbolic, or literal. I draw on a variety of resources
including a rich background in art history, and a life long fascination
with the cultures of primal people. Geology and music have been
important since boyhood and in recent years a deep interest in
contemporary physics and astronomy has developed. I
have a strong interest in the integration of art and architecture
stemming from student days when I was a member of Stanford University’s
prize winning team in the Collaborative Competition for Student Artists
and Architects sponsored by the American Academy in Rome. For me art
theory is secondary to the creative process. It follows and attempts to
codify the inventions and explorations of artist, poets, and musicians. I
think artists should not allow their imaginations to be constrained by
theory. We
live in an era of vibrant technological development. It has created,
unwittingly, a vast resource of information and materials for artists to
use in their explorations. For example, in the 70s, with the aid of
industrial technicians, I developed techniques to use sheet acrylic for
sculpture. Because of the colored transparencies, projections, and
reflections I considered this work to be painting with light as much as
sculptural form. It seemed weightless and it constantly changed with the
light and movement around it. Later, in the 90s, with technical advice,
I explored painterly patinas for cast aluminum sculpture using new
anodizing processes. Currently I use the computer to monitor galactic
images from the Hubble and Galileo spacecrafts as well as to view
Renaissance manuscripts. I am a painter and a sculptor and like to
combine the two. Among my patron saints are Rembrandt, Berlioz,
Stravinsky, Joyce, Klee, Mahler, Rothko, and Tapies.
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
All images copyright Harry Powers An icompendium Site
 |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||