A Quote by John Walford
In the Classical tradition, deriving from ancient Greece and Rome, beauty was perceived as the means by which the artist captured the viewer's eye in order to engage the viewer with truth and so inspire goodness.
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The artist’s aim is not to instruct the viewer, but to give information, whether the viewer understands the information is incidental to the artist.
People know I'll be sensational, not scandalous. There's a fine-line difference. Sensational means titillating the viewer. Scandalous means being condemned by the viewer for making unfair, uncouth revelations.
The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very fixed, given who I am in the world. People have certain expectations of me as an artist.
Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.
One reason for making and exhibiting a work is to induce a reaction or change in the viewer.... In this sense, the work as such is nonexistent except when it functions as a medium of change between the artist and viewer.
An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.
A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.
In the most general terms, the Enlightenment goes back to Plato's belief that truth and beauty and goodness are connected; that truth and beauty, disseminated widely, will sooner or later lead to goodness. (While we're making at effort at truth and goodness, beauty reminds us what we're hold out for.)
The question of painting is bound up with epistemology, with the engagement of the viewer, with what the viewer may learn.
A lot of the pieces I've done over the years have involved alterations of scale and the idea of the viewer's relationship to the object and how we see things by either enlarging or reducing objects, it causes the viewer to look at them again. It's hard to do because our culture is so bombarded by images and media. How do you make something fresh for a viewer? That's a real challenge.
As the character changes in the movie, it rubs off on the viewer, so the viewer also goes through that change.
If to the viewer's eyes, my world appears less beautiful than his, I'm to be pitied and the viewer praised.
What intrigues me is making images that confound and confuse the viewer but that the viewer knows, or suspects, really happened.
We take pleasure in truth and it amazes the eye of the viewer to see in stone, in canvas, or in wood an inanimate thing that seems to move.
The tools are real. The viewer is real, you, the artist, is real and a part of everything you paint. You connect yourself to the viewer by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you. All you have to do it with is a brush, some chemical and canvas, and technique.
I don't need to control the mind of my viewer. Now this might sound contradictory because I want to make these installations set up an environment that will produce a certain kind of experience in the viewer, but beyond a certain point, I take hands off and leave it up to chance and personal experience. So maybe it's a marriage of control and no control we're talking about where the artist produces the artifact or the environment and then walks away from it, and the second half of the equation is the viewer and their personal history and how they feel about what they're experiencing.
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