Movement or No Movement


Movement or no Movement 

By Barnaby Wills

We shall now look at whether or not some of the emerging artists working today should be underpinned by an intellectual position suggested by designers, craftspeople, academics, and the public as a whole. We look at the historical foundations of some of the most considered work by the young artists and we come to the realisation that every step we take together can help to form new bonds, new concepts and new negotiations with the authorities that are already stipulating various new approaches. Sometimes everything steps away from the boundaries (which helps the creative process), in the sense that the works are reviewed as well as explained, continuing a tradition from our history. The artist must increase his/her understanding of the age we live in, working with a method as opposed to grappling with the self. The romantic idea that the artist can foster may be just as problematic as this ancient idea that artists somehow lose all grip of reality. The romantic artist can be too precious about the works, and too attached to what has been made. We must assess whether this can be changed from within the artist, studying the people of thought and particular contributions made. Everyone has a form and everyone experiences the world differently, in complete awareness of the natural order of things. It is when the human being escapes the natural order of creation when the human being disobeys the natural order of creation. The underpinning of practical and theoretical drive should sometimes come from this key concept; working with the method with clear concepts, as opposed to the more romantic idea of grappling with the self through art.