Botanicals, exhibition, Judith Bohm-Parr
by Judith Bohm-Parr
Cast panels depicting flora at Xanadoo,30cms x 30cms x10cms
I thought I would share with you a bit of an insight into my exhibition- "Botanicals" at the Childers Art Space, a couple of years ago. It also gives me a chance to post some more images from the show. Hope you enjoy.
ARTIST'S STATEMENT for BOTANICALS
Life is a continuous journey with a few stops in-between; for some metaphorically, for others literally. As an artist, I find that journeying in both spheres presents inspiration for my art. I am at present at “one of the stops, literally”, newly relocated from 22 years in the tropics to beautiful Childers & Xanadu, our dream property.
Mother Nature has been a defining rationale in my art for many years & I never tire of portraying the endless repertoire she presents on every journey. The stunning gardens of this new abode offer unlimited potential for portrayal in glass.
In his later years, Claude Monet found his muse in Givenchy. As a mature artist, I humbly follow in his esteemed footsteps visually & contextually, in my case using glass as the medium to portray changing light, colour & form.
Age softens vision, giving a different perspective to everyday objects. My own use of the pate de verre technique acts as a filter that blurs, softens and renders the seemingly everyday with mystical & precious perspectives. My intention as an artist is the creation of pleasing forms that satisfy my sense of beauty & that the viewer, through a unity of formal relations amongst the senses, evokes a pleasurable sensation, where lack of such arrangements leads to discomfort; these are the feelings of beauty & or ugliness.
Hence beauty can be defined as a unity of formal reltionships by our sense perceptions. Tolstoy’s famous theoretical definition of art helps to explain my own approach to aesthetics.
“To evoke in oneself a feeling one has experienced, & then by means of movement, lines, colours, sounds & forms, transmit that feeling so others can experience the same feeling- this is the activity of art. One man by means of external signs, hands onto another feelings he has lived through & others are infected by these feelings & also experience them.”
I am the beholder of such beauty & wish to pass these experiences on to a larger audience, conceptualising beauty in terms of aesthetics. These terms define my art- design, proportion, form, colour, emotions, texture, transparency, imagery or lack of, haptic response, size/space relationships, material, decoration & tactility. Certain proportions have universal appeal & such division of space & form is no accident. I strive to subtly manipulate such classic forms so they become an invisible vehicle that can express my visions of the world from an aesthetic that is appreciated but not necessariarly recognised by a lot of people. They see the beauty but the underlying formal considerations that prevail may not be instantly recognisable, as they transcend barriers of time, culture & language, producing mass appeal
My glass art becomes a mirror to reflect back to the viewer the truth of their feelings without assistance from commonly employed devices of symbol, imagery, illustration or text. As such, the works resonate with that mysterious set of rules known as aesthetics or visual communication.
The axes of the exhibition will encompass the layering of place, proportion, form, seasonal change & colour, placing the displayed artifacts firmly in perspective context. In my search for the quintessential elements of my art, I discovered that the beginning & the end are inextricably linked.
Moving out of my comfort zone in 2002 with “Parred Down”, led to this current exhibition that explores the landscape of my special place-Xanadu.
The exterior presence of glass & people is shiny, hard & reflective. I reinvent the properties of glass via PDV into a more familiar, friendly, approachable & tactile substance that mimics & uses the process of befriending & knowing an individual. Barriers are breached that invite dialogue without the necessity of subterfuge. Another tool I use to reach out with is colour.
Colour is life, for without it the world would be dead; colour cannot exist without light. It is this fascination with the interaction of light & colour that has influenced my art.