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About Me Traditional Art / Professional Member Sean MorrisMale/United States Recent Activity
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~Vasqi
Sean Morris
Artist | Professional | Traditional Art
United States
I started painting in June 2003, at the age of 30. Before that, I had dabbled in drawing as a child, but hadn't explored any form of artistic expression for at least 10 years before I began to paint.

After age 18, I had joined the workforce and did the things I thought I was supposed to do, as a young man growing up. I found this anti-toys.r.us lifestyle unrewarding in every respect. At the age of 28, I went back to college in hopes of finding a career more suitable to my needs. But after school, I found myself out of money and out of a job.

I sold my driver's license to a fugitive for $100.00 and used the money to buy a small tabletop easel, 3 canvases, a paint brush, pallet, pallet knife, and some paints.

I didn't know much about art, at that time, but there were some simple ideas in my head that I just wanted to try to get out. I had begun to see things that I had never noticed before.

I used to draw contrasts in black and white (graphite), but now I was seeing in colour as if for the first time. And I was seeing that nothing was a solid colour, but rather a collection of several colours interacting with one another, then summarized and simplified by the mind, presented as a solid colour. And I had begun to see how art is revealing the truth of all things.

I have always been highly phylosophical, even as a small child. But this experience was a manifest representation of the way I see "truth", as an over simplified, seldom understood, interaction of several very distinct truths coexisting.

But my favorite part was that this manifestation is part of the real world, not some abstraction. And most of all, I was fascinated by the reflected light in shadows, the way shadows vary in intensity over the form, and how the local colour is effected by area colours.

So for this reason, I was always interested in executing realism. I love the challenge of it. Each work attempts to resolve a different optical dilemma.

Over the years, I've studied a lot on the human eye, human vision, how the brain registers vision (both real and imagined), and I studied light and physics in general. I wish I could have been a better student of chemistry than I am.

Art has become a kind of religion for me. The work itself reveals the secrets of the universe.

I prefer oil to other paints. I spend a great deal of time exploring the possibilities of the medium. I prefer paint, because it allows me the best control over colour. And I need that control to satisfy my inquiries. Colour is for me, far more important than anything else. As a consequence, I use the highest quality oils I can find (Old Holland Classic). And I transitioned over to the more expensive artist quality paints very early on, because the quality of the paint directly influences the technique. An artist who learns painting with student grade paints, will learn many bad habits. Likewise, most of what I know about colour comes directly from my own experiments, not books. An artist should always do their own colour studies in the same brand of paint that they will be working with.

I buy opaque and transparent colours, but I strive to limit myself to primary colours and white only. I can get any colour I need from that, so there's no need to buy other colours.

I still don't know why I paint portraits, but I enjoy it very much. Perhaps it's because I recall someone once telling me that it is the most difficult subject matter... I don't really know.

At any rate, that's how I arrived at where I am today. And now I can't imagine doing anything else.
Interests
Debatable – The greatness of modern art is in its power to provoke thought and discussion, often in the form of passionate debate.

Modernism, at its core is 'progressive', which is at the very essence of the human condition.  As subject matter, the human condition is a major theme of modernity.  Artists strive to either illustrate it from a purely objective point of view, or affect change within it, by getting people to reexamine their own values.  After all, what is the 'human condition' if not the consequence of contemporary values?

But here, we arrive at the duality of Modernism; it has a human element and a conceptual one.  Surprisingly, more often than not, when these two elements are at odds, it is the human element that is sacrificed to the conceptual, not the other way around.  However, when we adopt the thought that ideas are more valuable than human beings, then this branch is anti-modern, because it is not progress for the human being.

A good example of this is the religious idea.   Examples such as these, lead to anti-modern behavior such as war; the total destruction of human beings.  Traditionalism is another good example.  I think it's rather obvious that tradition is anti-progressive, and consequently, anti-modern.

Coming back to the opening statement; debate provoking art stimulates the mind and presses the human ahead into brave new territory.  Just as new technology reinvents the world by reshaping all the problems and how we approach them, it also changes our values in exactly the same way.  Art is just like this, a new tool, a new technology.  The only difference is that, with art, progression of the human condition is the primary objective.

Art is 'the quick fix'.  As modern technology reinvents the world, solving old problems, but also creating new ones, art identifies those new challenges, points them out to us, and forces us to challenge them next.  

Sometimes, these 'new challenges' are not so new.  Sometimes the only thing new about them is our will to challenge them when before we would not.  In such cases, it's important to begin by examining why it is that we could be aware of such problems for some time, but lack the will to challenge them.  Often times it boils down to some rather anti-modern source, like religion; some antiquated idea, conceived at a time when the world was very different.  The world moved forward, but the ideas stood still, and now we find them holding us back, now we find ourselves back in that place where ideas are more valued than human beings, now we find ourselves at war, now we find ourselves struggling to destroy all humanity for some old idea.

This is the birth of tragedy.  This is the birth of art.  This is where art steps in, for the sake of humanity, and tries to smack some since into us before it goes any further.  It's only natural that art should meet with resistance.  It challenges the status quo.  But the status quo benefits some lucky few at the expense of the masses.  And these fortunate few will do and say anything, to get the masses to believe that they are better off as their slaves than liberated.  So art steps forward to illustrate the hypocrisy of their argument, it asks the essential  question: If slavery is so wonderful, why don't you join the rest of us and come down from your throne?  Art reveals the weakness of their argument.
  • Mood: Neutral
  • Listening to: FIOS VH-1
  • Watching: paint dry... literaly
  • Drinking: yerba mate

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:iconrushnell:
Thanks for the support!

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~CariTheCannibalChick Dec 25, 2011  Hobbyist Traditional Artist
thanks for the fave
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:iconrafido:
*rafido Dec 17, 2011  Hobbyist Digital Artist
:iconrightthumbsupplz::icongrin--plz::iconlefthumbsupplz: Thanks for the fav.
I appreciate very much that you like my work.



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:icondelocatio:
~Delocatio Nov 30, 2011  Student Artisan Crafter
Thank you very much for the fave! Your gallery is very nice ;)
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:iconvasqi:
~Vasqi Nov 30, 2011  Professional Traditional Artist
:)

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Life is a spectacle. If you're not looking, you're missing it.
-Sean Morris
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