Are You A Small-a aRTIST?

small-a aRTIST

It is the Time of the Small-a aRTIST.

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Small-a aRTISTS are those:

  • Who have never found a movement, an -ism, a school, a collective or a unified artistic vision that they could belong to
  • Who are on the edge of being jaded.
  • Who thought they would make a Contribution to the Discourse and found out they probably can’t
  • Who swore they’d never go back to a “day job” and then did
  • Who feel they have more in common with Picasso or Rodin or Van Gogh or Giacametti or Gauguin or Morandi or de Kooning  than any one working today
  • Who refuse to believe in the irrelevance of the visual arts today in spite of growing evidence
  • Who watch with amusement the glamorous comings and goings of the Artworld wondering what it could mean for all of us down here in the real world
  • Who find themselves in between “selling out” and “staying true”
  • Who, in order to make art, rely on the financial support from another and hate that they do
  • Who are still seeking significance in spite of everything.

It is time to rethink your place in the world. It is time to be reminded of your incredible importance as a visionary. It is time to come together and support one another and spur one another on to great works. It is time to invest heavily in the future of the visual arts. It is the Time of the small-a aRTIST!

And… Who’s Tornillo?

Leonid Tornillo

I am often asked about the significance of the name I have chosen for my art studio and business. Tornillo is an obviously Latin sounding name and, well, Pattison is not. This is sometimes a disconnect for new followers of my work.

As with all good stories, this is a long one. I’d like to give a shorter version to help explain.

The name and the concepts behind it are instrumental in understanding my current painting and the aesthetic behind it.

Leonid Tonto de Maria Garcia Tornillo is a 63 year old, completely fictional artist who was born in 2009. That was the year I mounted a successful show for the Mexican artist who, according to the (fictional) exhibit documentation, was unable to come to the United States for immigration reasons. The exhibit, Leonid Tornillo: Guerra y Sueno, included more that two dozen paintings and accompanying details. It was an effort on my part to examine some important concepts in my art history and visual culture studies, specifically related to artistic identity, exhibit and viewer trust, and the glorification of the exotic. The exhibit also explored the issues surrounding the ongoing wars in Iraq and Afghanistan from a non-American perspective.

Though the paintings, the biographical and critical information filling the gallery led the viewer to believe that the work was from an older Mexican painter, they were actually the work of a white middle class father of three from a small town in Washington. Me.

Some of the many questions raised in the exhibit:

  • How did viewers see the work differently when the conceit was revealed?
  • How did the viewers trust in the gallery and its authority change when the documentation was unmasked as false and misleading?
  • What role does our fascination with identity play in our attraction to art created by the Other?
  • And does it matter if a work of art is created by an artist from Zimbabwe, or a gay man in New York City, or a Zen monk, or a woman who lives in a tree and only comes down twice a years for painting supplies and Clif Bars?

The response to the exhibit was overwhelmingly positive! I was able to present some difficult concepts and open the discussion in a fun and thought provoking way and… the paintings sold. (From the start it was important that the paintings be great. Apart from the concept and learning opportunity, the art needed to stand on its own, working as paintings and appealing to collectors.)

In developing the show, my painting changed and got better as I allowed the “outside perspective” of Tornillo to influence the pieces. Slowly a specific aesthetic emerged. And, trying to keep this story short as I promised, I continue to paint according to that same aesthetic today. I continue to use Señor Tornillo’s name too. Minus the ruse that my paintings are his.

In an upcoming post I will further explain the Tornillo aesthetic that informs the work I do.

Pattison

December 12

Our Lady the Virgin of Guadalupe

 

Tornillo 2