“As most major works began with sketches, so can sketches be inspired from major works. It is a cause for concern when a market encounters a sudden flush of major works and sketches that carries with it, the same provenance. Credible or not, one should question the frequency, mode and authenticity before being ensnared into the tentacles of a very complicated abyss. Fakes, fraud and forgery can affect market consumption and credibility of the artist and annotated records, misused. I wish to push the red button and urge interested parties to be stringent in assessing.”
“Picky artist who prefers their works to be collected or supported by major institutions worldwide, rather than puny individuals who knew nothing about art except collecting and trading them, should be aghast to learn that these puny individual collectors whom mostly knew nothing about art except for collecting and trading them, supports and forms the largest representation in art acquisition committees in major institutions worldwide.
As I have mentioned before, from appreciation, scholarship and collectibility emerges. And from collectibility, blooms commerce and the trading of it. The chain is cyclical. If we don’t appreciate one link because we can’t understand it, we should not stop others from enjoying it. Worse, trying to correct it.”
We do not need more classifications and post dissections that characterizes every uncanny art development into neat convenient schisms. In art ecology, the dichotomy of openness, of acceptance and receptivity is primary in cultivating interest and broadening its promotional milieu.
Just as in a blooming garden, there are always the botany who studies, the gardener who tends, the connoisseur who celebrates, the landscapist who beautify, and the traders who beatifies because ppl believe in the bonding and healing power of flowers. Each aspect hooks on the chain of the other. That helps to promote interest and sustains its very existence. So must art ecology be.
Art is not a need and is chiefly non functional. If it is, wouldn’t a sculpture be better termed as a furniture ? Thus art enters the realm of ‘collectibles’ whose purpose it is but to beautify or commemorate.
Most schools of art concentrates on the know-how and the making of it. Seldom if ever, do they touch on art appreciation.
Because it is only with appreciation that scholarship and collectibility shapes itself albeit together in parallel rhythm, and with collectibility, commerce and the trading of it thus blooms. The chain is cyclical and it keeps revolving. And if one doesn’t appreciate one of the links just because one can’t flow with the rhythm, one should not stop others from enjoying it. Worse, trying to correct it.”
“Every artist should by right be at equal par with Picasso but why doesn’t that happen? Or probably he edged you out in creativity and originality, and the number of wives he has? Or the press picked him out over others simply because he plays to the crowd just like how David Beckham was chosen over those who were ruthlessly more dangerous on the field but doesn’t look any better? Is it called luck or likeability or the consistent endeavor to be noticed that pays off? Or perhaps ppl knock on your door to be chased out by a slouchy sloth going around disseminating songs like ‘I don’t sell my art’ and ‘I hated galleries’ not because you don’t like your art to be traded but because you were played out by your own stupidity and trusting attitude and you yourself wanted to enjoy the harvest at the end if there is a good ending because let’s be frank you can’t predict your own future and started making prints out of your mediocre art which is an appropriation of somebody else’s work and hoping to stay alive running errands feeding grandchildren instead of focusing on your art? To be an excellent artist is skill and creativity besides basic training but to be a crowd favorite, boy you got to have great communication skills and the courage to promote yourself and suitably stand out for what you believe in ! And let’s be frank. Western art originates from the west and the standard is set by them not us unless you have the courage to rewrite their history and break out from it like the Indonesians did or the Japanese or you’d be going nowhere so stop assuming you’re good enough when the rostrum is happily everyone else’s as long as the patrons and experts are given the chance to take notice of your work . No one appreciates a dumb character and losers displays similar traits just like there are winning habits in competitions.”