This painting documents the pianist’s strife for excellence. Even though some consider the student to be a prodigy, I see an ambitious musician who wants to achieve greatness against all odds. This is a musician who has recognized his God’s given talent. Like Tiger Woods, Venus & Serena Williams, and Michael Jordan, who have all mastered their crafts, they will tell you that as much they have been endowed with the gift, a lot of it has been the result of hard work and dedication. That is the case with this pianist whose relentless hours of practice on the piano makes one ponder how hard it is for him, and how much I would have been able to absorb or even handle if I was in his shoes. The level of expectations from great schools/conservatories and the competition out there in the field of classical piano is fierce! It is a discipline that seems to be dominated by mostly Asians, Russians, and Europeans etc. Most people just think they are outstanding! Where does a boy from Sierra Leonean descent fit in this equation? It makes me ponder how high or low the expectations are set for him when he competes on that level. Are they surprised to see him? It seems as if the ratio to successful black classical pianists might be fewer comparatively, and even the few seem to have lesser access to opportunities. Despite, that grim reality, he looks forward to carving his path and follow the footsteps of Andre Watts, Leone Bates, George Walker and Herbie Hancock. Some of them are classified as Jazz pianist, but their powerful technique equipped them with the ability to play most classical repertoire if they choose to.
ArtisticINSIGHT
Tuesday, April 1, 2014
ODE TO DENZEL GARRICK
This painting documents the pianist’s strife for excellence. Even though some consider the student to be a prodigy, I see an ambitious musician who wants to achieve greatness against all odds. This is a musician who has recognized his God’s given talent. Like Tiger Woods, Venus & Serena Williams, and Michael Jordan, who have all mastered their crafts, they will tell you that as much they have been endowed with the gift, a lot of it has been the result of hard work and dedication. That is the case with this pianist whose relentless hours of practice on the piano makes one ponder how hard it is for him, and how much I would have been able to absorb or even handle if I was in his shoes. The level of expectations from great schools/conservatories and the competition out there in the field of classical piano is fierce! It is a discipline that seems to be dominated by mostly Asians, Russians, and Europeans etc. Most people just think they are outstanding! Where does a boy from Sierra Leonean descent fit in this equation? It makes me ponder how high or low the expectations are set for him when he competes on that level. Are they surprised to see him? It seems as if the ratio to successful black classical pianists might be fewer comparatively, and even the few seem to have lesser access to opportunities. Despite, that grim reality, he looks forward to carving his path and follow the footsteps of Andre Watts, Leone Bates, George Walker and Herbie Hancock. Some of them are classified as Jazz pianist, but their powerful technique equipped them with the ability to play most classical repertoire if they choose to.
Saturday, April 20, 2013
"IMMIGRATION REFORM: OIL ON CANVAS"
ARTIST: Richmond Garrick
Over the years, since 9/11 or before even that trajic event, I have indulged myself mentally and in my creative process to question human actions, not their reasons to kill, but their mission to kill with sadistic pleasure. As a native of Sierra leone who was lucky to escape the brutal civil war that lasted for ten years. The war consumed innocent lives including my brother, and left many people maimed, scared with violence after losing loved ones. It destroyed childrens' lives by converting them to monsters and indoctrinated them into a machine of rapists and killers, as they now try to rehabilitate themselves; all of us in different disciplines are facing a different paradyme in our thought process. What can be done to stop this madness? One salient point of agreement is that Yes! The world around us is changing and even though we dont not want to be grappled with fear, still fear is infiltrating into our lives..
Artists in the past have been influenced by what was happening in their society. Obviously, it's hard for an artist to divorce his creativity from his background. As we face this era of the unknown and the unpredictable, and we get emotionally charged in this new era of violence, to what extent is it going to affect everyone especially us artists, dancers, sculptors, musicians or any field that requires the soul, mind and the body to be in the right restful place to create their art? Time will tell!
Sunday, January 10, 2010
TRUE JUSTIFICATION
Painting: “Peering Into The Future”
TRUE JUSTIFICATION
Recently, I was reading the “World Street Journal” dated Saturday/Sunday, January 2-3, 2010. As I continue to read, I decided to peruse through the section “Leisure & Arts”. In that section, I was struck by the title, under exhibitions entitled “Art That Defies That Definition” The sets of articles tend to review different museum and gallery shows. Without reading any of the articles, it was intriguing and baffling in its implication. It almost felt like a paradox to me. This is a statement that provokes the truth. If I can stretch my reasoning a little further, it provokes human conscience in academia and art. What is Art? & What can be considered Art? The article written by Lance Esplund about the show “Gabriel Orozco” at the Museum of Modern Art running through March 1, 2010 borders on a controversy encompassing the art world. “Orozco” organized by MoMA’s chief curator of painting and sculptures; Lance said, seems to focus on the “transformation of the concept of sculpture-via innumerable mediums and methods”. The part of the article that touches the most sensitive artistic fiber of my creative soul was the fact that a two year old girl pounce on one of the artworks, “Recaptured Nature”(1990) comprising of two inflated inner tubes fashioned into a sphere, and looks like a big black rubber ball. The little girl reached out to probably to play with one of the pieces and was scolded by her mother, and museum guards. The screaming girl was carried out of the show Lance said. Wow!! While I do not want to jump to any conclusion based on her action, because a 2 year old would do that with any piece. On the contrary, I’ve heard my 14-year-old son question certain work that is considered art as well. What I question is the curatorial decision to consider such a work as art against the ones they deemed unfit or reject. What is the paradigm that they use to arrive at such decisions? As an artist, I am open-minded and try to look at every art within its “TRUE JUSTIFICATION”. But at the same time, a piece of that nature provokes dialogue in-terms of curatorial decision as they write their philosophy and approach to defining the playing field in art. I search for reasoning & explanation relating to their judgment between what they chose to consider or accept into such shows, as they question another piece or artist work that carries a more technical and artistic approach. This brings me to my painting “Peering Into The Future”
Peering Into The Future is a painting that resulted from my painful consciousness and conscience as an affected, symbiotically connected “War Artist”. This painting does not provide the root for escapism or fantasy. It examines a stricter dialogue with human rights, ethics, and confronts the viewer face to face with such issues in the painting. The painting becomes a mirror for their reflections whether personal or psychological. Well, who cares about such a topic when it does not affect them? Why do some of us want to engage in deliberate negation or denial anyway? The curator in a museum that I exhibited refused to show this painting because she felt it was too strong. But in that same museum, works by two of my influences “Sheeba Sharrow and Leon Golub have been exhibited. Sheeba Sharrow had a major exposition there. We have all experienced an innumerable amount of art works of such nature ranging from the crucifixion, Goya and Lucian Freud’s tormented pieces etc. These artists progressed and emerge as the influential figures in art. Such decisions of what is art or what they want to show in museums or galleries is becoming more personal, preferential based on their own appreciation, sense, reasoning and the artistic dialogue that they seem to embrace and propagate. Should the artists continue to play into the philosophy pretentiously while engaging in such a creative process? In my role as an artist, this is a responsibility I handle with serious intent and inner soul-searching dialogue. Duchamp for instance was accepted and a clever spin was placed on the appreciation of his work. He was celebrated as an Avant-Guarde artist. While if it was not for Dr Barnes, who decided to develop his own approach how to look at art, Chaim Soutine’s paintings would have been rejected. Dr Barnes "promote the advancement of education and the appreciation of the fine arts." from a different perspective. Who would have even thought a toilet would make it into a Museum? Therefore, Critical judgment of art is more political and preferential than such institutions would want to accept.
As a result, I am determined to continue to explore my inner true soul and practice this discipline with a safe conscience. One that looks into my soul as an artist, but seem to put the basic approach of its premise first to provide the vehicle for my creativity. This is the reason why this painting reflects my inner thoughts and emotions through the didactic and emotional nature of the brush strokes. My style is characterized by thick, convulsive brushwork, through which I can express my frustration, tenderness, as well as turbulent psychological states. It looks at pain, anger, in-humanity, injustice, and provide a dialogue within the sancrosanct temple of painting. It combines the technical approach of painting and sculpture with such physicality in the process. This I hope conveys my feelings as an artist, which I hope would affect or touch my viewers. Therefore, my viewer’s reactions are much more rewarding and fulfilling than a decision from an intellectual that would engage in a bias decision.