I could draw before I could talk. My kindergarten teacher called my parents and said, "Have you seen this kid draw?" They had. I’m still drawing but now the cave wall has changed - the canvas is a Mac G4, the brush has an infinite grasp and the gallery is both real and virtual. When asked “Is it a photograph, a painting, a website, an installation?" I respond "all of the above." When you are creating something new you don’t know what it is - which makes it difficult to describe. For now I call these post 9/11 works “Dimonscapes®.” or “web paintings.” When The Whitney issued a recent call for the "next big thing in YouTube", I responded with this: “The next big thing isn’t video at all; it’s a new dimension painted with a new brush.” This didn't prove popular. But a recent work was purchased by Walter Liedtke, the curator of 17th century art at The Metropolitan Museum of Art.
We're in a new age - the "Gutenberg press" of imagery.
Where I once loaded my canvas with oil paints, my resume with words, I now load these two spheres together and paint on a cave wall that is flatter-than-flat, almost non-existent -- however with a fullness that appears to be infinite, in an ether whose democratizing moment is beyond my comprehension.
My latest creative evolution is borne from a desire to reach out and touch digit on a deeper level. Studying Christian iconography (post 9/11) in a despairing time for me, and of course our country, I was astounded by the description, "icons reached out to comfort a nation besieged." I pondered how I (we) might do the same using the medium of our time–to invite one (and all) to journey into the stillness and fullness of a work–slowing us down so we can speed up, see, distill time into a moment.
Think icons + digital. Add lots of other stuff and mix. A whole new recipe for art and a new calling for artists, one that is ancient but which we seem to have lost in recent times. All of art is spiritual. But somehow this is more so. Exponentially so.
Roz Dimon aka rozolution
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