Our Artists and Writers
Invited Artists and Writers in connection to Vermont Studio Center
Gihon River Collective Writers
Gihon River Collective Visual Artists
Amna Ilyas, Pakistan
Anne Percoco, USA
Ariel Elizabeth Churnin, USA
Ciara Foster, Ireland
Charlie Grosso, USA
Christopher Manzione, USA
Chutima Kerdpitak, Thailand/UK
Elaine Woo MacGregor, UK
Erin Lee Benson, USA
Jacqueline Norheim, USA
Jessica Pezalla, USA
Jon Rajkovich, USA
Josianne Ishikawa, USA/Japan
Joshua Haycraft, USA
Leonardo Aguinaldo, Philippines
Lillian Pease, USA
Lisa Iglesias, USA
Liz Jeneid, Australia
Marilynn Derwenskus, USA
Mark Dilks, USA
Natasha Mell-Taylor, USA
Renata Szur, Hungary
Rinaldo Klas, Suriname
Terry Wise, USA
Wendy Morrison Painter, USA
Mark Dilks (continue)
can be moving and still, surface and space, beautiful and ugly all at the same time. What do you call an image object that consists of both paint and video? It is all in one, without hierarchy. Aesthetic democracy was directly related to serious political, social and ideological reevaluations. The Dadaist were from all over the world, all classes and practiced all artistic forms; they strove for a common ground of place, society, politics, and material; allo sorts.
DADA said it was everything and nothing at the same time. It was a thought that fought against the history of thinking. Through an intellectual rationalization of non or anti-intellectual behavior, DADA inherently denies the rationality it uses to define itself. Still, it accepts itself for what it is DADA.
DADA inspires my outlook on art and on life. But, could I make a DADA painting now?
Would it even be one? No.
To reference DADA, I set up a Still Life with a wooden horse, dada is french for hobby horse, but quickly painted it into a bird which I called DODO. A Dodo is an extinct bird which could not fly.
It is also a poo. In my painting, a wooden bird attempts to fly out, of congealed ooze.
"It's Constantly Moving"
Parameters for perception are useful when trying to define but can get in the way when trying to create. I enjoy looking into the muck to discover new beginnings, but I honor my teachers by using traditional genres, Still Life, Landscape, Portraiture, as a starting point for my paintings, a staged reality as ground for a departure. Through painting I try to capture my experience of observation by dissecting the parts of the observed.
There is an archeological mining that is exhibited in the application of paint and the scraping away of surface. While digging through paint to find an experience of looking, reality is destroyed, reassembled and animated into a new life. In a Still Life, I assemble inanimate objects resembling living things, a wooden horse, a handsewn doll, a foam eyeball, a figure made out of clay, and then paint them into their own living world. The Still Life objects are usually quaint toys or innocent objects found around the house.
The world I paint often tears these kitsch objects apart. The painting embodies a collision between the innocent and the violent, the clean and the tarnished, the trained and the untrained. PEACE in pieces.
Within a painting rules are off. A form is made out of ooze. A line rests in space and surface. A chair becomes a talking hippopotamus mouth.
A shadow becomes a ghost. DADA helps me liberate my own theories of painting, my process, my paint. It allows me to breathe life into objects never thought to be alive and to keep options open.
But I paint,
Dodododododododododo
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