Film by Eric Minh Swenson. Music by El Monge KATE WOLFGANG SAVAGE: I grew up in New Hampshire. I played outside a lot. I love being an artist. I still get to play outside a lot. I like feeling free. I like feeling inspired. I love simplicity and I look for meaning in everything. I'm fascinated by nature and beauty and polarity and love. I want to inspire people. Make them feel something alive and satisfying. Share some of the happiness I get from living a simple life in which I get to make art. It's quieter and richer than any other way I've lived or ever conceived of living. When I need my ass kicked I read this: "There is very little virtue in wanting to be an artist. Anyone can do that. There is a great deal of virtue in being one." - Louise Bourgeois I paint landscapes to capture the tremendous awe I feel when I am immersed in nature. I am particularly drawn to the epic scale of the landscape on the western side of this country. Recently, the scale of my landscapes has been very small. My aim is to capture the expansive, deep, space of thousands of miles within a few square inches. To me this represents the connection to nature that I believe lives inside all of us. We all have a stunning, expansive, deep, space within us. I hope people will be inspired to be in touch with themselves and with the beauty around them when they look at my paintings. I paint objects that represent life and death, fragility and change, and the beauty I see in simplicity. It's a practice for me to accept the reality of a human existence. I find bones particularly beautiful. They remind me to live my life while I'm here. Life is a very precious, very short gift. A week's vacation from eternity and while we are here we are here to be human. I don't want to miss it. Painting forces me into the present. I paint human beings to connect to my own human-being-ness. I paint the outside but I'm after the inside. What makes us each unique; what makes us all the same? There's energy between humans. I get to feel that when I draw or paint one of us. Lately I've been drawing myself and I'm learning about who I am as an artist and as a woman. Some things I knew some things I most certainly did not. For more info on Eric Minh Swenson or project inquiries visit his website : www.thuvanarts.com ART FILM SERIES: www.thuvanarts.com/take1 MUSIC VIDEOS: www.thuvanarts.com/musicvideos+ More details
Film by Eric Minh Swenson. Music by El Monge Religious Icons in today's world may evoke many different responses, from religious reverence to secular indifference they can be beautiful, quirky, touching or strange but few I think would find them controversial. Their history however involves the most controversial debate in the Christian Church and one that will define the religion and change the face of the world. Take a moment to imagine an art history book with out the patronage of the church. Not only was it responsible for funding countless artisans and guilds but today influences scores upon scores of contemporary artists. None of that would exist however, if the founders of one of the worlds most influential religions had decided to side with the Iconoclasts and ban all images in their churches. Eva Haustein-Bartsch writes extensively on how as the early Christian church grew it needed to get its story straight. Who or what exactly was Jesus? Was he a man that God spoke through or was he actually God. The council of Nicaea in 325, after much debate, determined he was a little of both and as a result it was decided that Icons (in Greek Eikon which means a depiction or likeness) could be made but could not be worshiped. Muslim conflicts in the 8th century left the church divided again and this civil war led to the destruction of nearly every Icon that existed in the Byzantine empire and eventually brought about the second council of Nicaea in 787. Icons were defended by the church's belief in Acheiropoietos which are Icons not made by human hands such as the Veil of Veronica (veri=true icon=image).The church determined that these along with a portrait of the Virgin Mary that was believed to be painted with her permission by John (the Hodegetria) were sanctioned by God and therefore allowed. Also it was determined that these images like the cross were mearly symbols. This was extended to include any images directly copied from these sources and so churches all over Christiandom were allowed their own versions which as time when on and more copies were made became more and more unique. From this point onward science more so than theology will most greatly influence the course of art history from the use of lenses and the focus on humanity of the Renaissance, to the invention of photography and now digital media in our contemporary world but none if it might exist if the early church had decided to take a literal read on one of the Ten Commandments and ban images in their entirety. Kimberly Zsebe is a native Milwaukeean. She moved to Los Angeles in 2006 to pursue her painting and love of sunshine, after attaining a BFA in painting and drawing, with a minor in art history from the University of Wisconsin – Milwaukee. She also holds a BA in philosophy from the same school. Zsebe has also pursued her love of photography and has been working therein for some time, both commercially and artistically. However, painting is still the art form closest to her heart, and remains the focus of her creativity. Her work was most recently featured in February 2012 at the Hive Gallery in Los Angeles. Zsebe’s work has also been shown at Barnsdale Park, La luz de Jesus, and the Loft at Liz’s. All of which have displayed her most recent work in religious icons. Zsebe’s Icon work combines her love of philosophical questioning and her dedication to traditional methods of painting. Fun and provocative, familiar yet fresh, these paintings lead the viewer into a dialogue that compares the sanctity of religion to our modern day consumerism. For more info on Eric Minh Swenson or project inquiries visit his website :www.thuvanarts.com+ More details
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