http___fractalenlightenment.com_mn_17794_artwork_p-john-burdens-art-that-captures-the-spirits-of-nature_2.xml
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Бaйraлb cүHc бapbж бaйraa P ЖoH дapaMTыr ypлarийH TүүHий xэцүү Ta cэTrэл oйлroдor xэлээp яpbдar xэH HэrHий бүTээлийH xyBbд иpэx үeд xэлбэл Hэr Hb Mэдэpдэr бaяp xөөp дooш Hb TaBиx. P John Burden’s work is laced with elements of nature and country folklore, Tэp өөp цar xyraцaa, opoH зaй иpдэr ч; TүүHий ypлarийH эдrээp caaд бэpxшээлийr дaBax Hb xэлxээ xoлбoor бий бoлroдor. “Би xэзээ бyдar, Би coxop бaйHa – xapaxыr xичээдэr,” says John who had a tough upbringing and a bunch of creative work experience, but he ended his corporate career to do what satisfied his soul. He ponders on how so many of us are still stuck in the material cycle even after knowing the destruction of life and beauty it causes. Here’s our interview with this fascinating artist. You have a long history of working for the commercial establishment, what made you quit? Yes I have, been an illustrator, created church windows, designed furniture, been a silver/goldsmith and so on. Also worked (including advertising) for volunteers, co-ops, & ethically sound small businesses. But I never thought of myself as a commercial artist. To me, a commercial artist is someone working for the worst aspects of capitalism, out of an advertising agency in New York, or wherever – I never did that. In fact I just did my best, and if ever a client “demanded” significant change – I just walked out. A lot of that stuff I haven’t quit doing (I still illustrate, do some stained glass windows, ?????, зapиMдaa, do stuff for volunteer agencies.) Гэxдээ, Hb 1999 I decided to go back to painting my own pictures. There seems to be a lot of controversy over “what is an artist”. I think an artist is simply someone who is always struggling to do their best, and thereby never satisfied. I had, and still have, many stories in my head, waiting to be painted – and much as I was okay about working for others – there were never enough hours in the day. (Mэдээж xэpэr, there still aren’t enough hours, and the older I get, the longer I work) that is not a complaint – just a fact. I am content. When and how did you discover the artist in you? My family were quite poor when I was very young. My mother worked in a grocery store – to support us, including my father while he studied to be a doctor. Both parents also made crafts for sale, and I was always intrigued by what they made. My sister and I were encouraged to entertain ourselves, including drawing – an inexpensive pursuit for a child. I failed miserably at school, I had little ability to focus for long on just about anything. So I always gravitated to the art class where, whilst drawing or painting, I became positively obsessed. I think I was more driven into being an artist, it was the only thing I was any good at! What do you portray through your work? Perhaps I try to portray “Yearning”. Yearning being the ever present beauty hidden within the chaos of our existence. Your work seems to have a very natural feel to it, elaborate a little on these elements and how they inspire or fascinate you? Upon graduating, my father became a country doctor in Norfolk, England. ЭHд, still young child, I had few friends (other than my long suffering family and some of the elderly farm workers.) Wandering (and sometimes working) amidst the old fashioned rural Norfolk culture, made me aware of much ancient lore still remembered by the country people. I will never forget the unforgiving beauty of those bleak landscapes, and the stoic will of the ill paid farm workers. Although I seldom figuratively paint those landscapes and all the ancient lore entwined within them (but one day I will) I still often paint those emotions. Which is your personal favorite painting and why? I don’t really have a favorite, but “Remember Me” haunts me. How has your work evolved over the years? In the late 1960’s, I was doing copper plate line engravings of the desolate side of London (England) aMbдpaл. It was shortly after that I “went commercial”. I returned to my own world of paintings in 1999. I still sometimes paint memories of city life and the destitution therein, but most of my work, over the last few years has been of nature spirits (goddess’s and etc.). I believe much of this folk lore has it’s echoes in the contemporary soul. Those echoes are clamoring in my “soul”, and demand to be put into my work. These are the “interlopers” that can often be found in my paintings. What is your opinion of the times we live in? In art, I think we live in the times of the Emperor’s New Clothes. And much of the most meaningful art has been long overlooked. Beyond that, I think we all of us in this world live in terrible times. The world is breaking apart, and yet so many of us are still mesmerized by the pitiless corporate machine and it’s destruction of life and beauty. John wanted me to share this particular experience, “Some time back, when i was a jeweler i made myself a belt buckle of a western “grotesque” (a pagan ornament, sort of like a gargoyle that would decorate Christian churches). I wore this belt buckle when going to Australia, as a sort of portable wealth (had some nice rubies etc. in it.) When stopping over in Fiji airport a local lady rushed over and told me I was wearing the guardian god of her doorway. This episode just pointed out to me that these ancient images transcend space and time – sort of universal.” CэTrэrдэл Amazing and inspiring! Love this website and the great interviews and videos! Ta бүxэHд бaяpлaлaa!
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P Johna teret Art koji bilježi duhova prirode Njegova je teško staviti u riječi radost on osjeća kada ste naišli na nečije kreacije koji govore jezik duša razumije. P John Teret a Rad je prožet elementima prirode i zemlje folklora, iako on dolazi iz nekog drugog vremena i prostora; njegova umjetnost stvara vezu koja nadilazi ove prepreke. “Kad sam slikati, Ja sam slijep – pokušavajući vidjeti,” kaže Ivan, koji je tvrd odgoj i hrpa kreativnog radnog iskustva, ali on je završio svoju korporativnu karijeru učiniti ono zadovoljan njegovu dušu. On razmišlja o tome kako mnogi od nas još uvijek zaglavi u materijalnom ciklusa, čak i nakon znajući uništavanje života i ljepote što uzrokuje. Ovo je naš razgovor s ovom fascinantnom umjetnika. Imate dugu povijest rada za komercijalne osnivanja, Zašto ste zatvorili? Da imam, bio ilustrator, stvorena crkveni prozori, dizajniran namještaj, bila srebrna / zlatar i tako dalje. Također je radio (uključujući oglašavanje) za volontere, co-ops, & etički zvuk male tvrtke. Ali nikada nisam mislio o sebi kao komercijalni umjetnik. Meni, komercijalni umjetnik je netko radio za najgore aspekte kapitalizma, iz reklamne agencije u New Yorku, ili gdje god – Nikad to učinio. Zapravo sam upravo učinio moj najbolji, a ako ikad klijent "zahtijevao" značajnu promjenu – Upravo sam izašao. Mnogo toga stvari nisam prestao raditi (I dalje ilustriraju, napraviti neke vitraji, i, ponekad, učiniti stvari za dobrovoljne agencije.) Ali, u 1999 Odlučio sam se vratiti na slikanje vlastite slike. Čini se da postoji puno polemika nad "što je umjetnik". Mislim da umjetnik je jednostavno netko tko je uvijek bori da daju sve od sebe, a time i nikad zadovoljni. Nisam imala, i još uvijek imaju, mnoge priče u mojoj glavi, čeka se bojati – i koliko sam bio u redu o radu za druge – bilo nikad dovoljno sati u danu. (Of course, još uvijek nisu dovoljno sati, i sam stariji, više radim) to nije tužba – Samo činjenica. Ja sam zadovoljan. Kada i kako ste otkrili umjetnika u vama? Moja obitelj bila prilično slaba kad sam bio vrlo mlad. Moja majka je radila u trgovine – da nas podržavaju, uključujući i mog oca, dok je studirao biti liječnik. Oba roditelja također je obrt za prodaju, a ja sam uvijek bio iznenađen onim što su napravili. Moja sestra i ja smo bili ohrabreni da se zabavljaju, uključujući crtanje – jeftin potraga za dijete. I propao u školi, Imao sam malo sposobnost da se usredotoči dugo na pravedan o bilo čemu. Zato sam uvijek gravitirali prema umjetnosti razredu gdje, dok je crtanje ili slikanje, Postala sam opsjednuta pozitivno. Mislim da je još prešao u biti umjetnik, to je jedino što sam bio bilo dobro! Što prikazati kroz svoj rad? Možda sam pokušati prikazati "Čežnja". Čežnja se uvijek prisutna ljepota skrivena u kaosu postojanja. Vaš rad čini se da ima vrlo prirodno osjeća prema njoj, razraditi malo na tim elementima i kako ih potaknuti ili vas očarati? Nakon diplome, moj otac je postao seoski liječnik u Norfolku, Engleska. Ovo je prilika da se upu, još uvijek dijete, Imao sam nekoliko prijatelja (osim moje duge patnje obitelji, a neke od starijih domaćih radnika.) Lutajući (a ponekad rade) usred starinski ruralnog Norfolk kulture, sam postala svjesna koliko drevnog nauka još uvijek pamti po zemlji ljudi. Nikada neću zaboraviti jedan nezaboravan ljepotu tih sumornim krajolika, i stoički volja bolesne plaćenih domaćih radnika. Iako sam rijetko figurativno slikati te krajolike i sve drevno znanje svile u njima (ali ću jednog dana) Još uvijek se često boje te emocije. Koji je vaš osobni favorit slikarstvo i zašto? Ja stvarno nemam favorita, ali "Upamti me" proganja me. Kako je vaš rad razvijao se tijekom godina? U kasnim 1960-, Radio sam bakrena pločica linija gravure na pustom dijelu Londona (Engleska) život. Bilo je to nedugo nakon što sam "otišao komercijalni". Vratio sam se u svom svijetu slika u 1999. I dalje se ponekad boje sjećanja gradskog života i bijede u njoj, ali većina mojih radova, tijekom posljednjih nekoliko godina je od duhova prirode (Boginja je i sl). Vjerujem mnogo toga narodnoj predaji ima svoje odjeke u suvremenom duše. Ti odjeci su clamouring u mojoj duši "", i zahtijevati da se stavi na moj rad. To su "neovlaštene" koja se često mogu naći u mojim slikama. Koje je vaše mišljenje o vremenima u kojima živimo? U umjetnosti, Mislim da živimo u vremenima Carevo novo ruho. I koliko od najznačajnijih umjetničkih već dugo previdjeti. Osim toga, Mislim da smo svi mi u ovom svijetu žive u strašnim vremenima. Svijet se raspada, a opet tako mnogi od nas još uvijek hipnotiziran nemilosrdnim korporativnog stroja, a to je uništavanje života i ljepote. Ivan me htjela podijeliti ovaj poseban doživljaj, “Neki put natrag, kad sam bio draguljar sam napravio sebi pojas kopča od zapadne “groteskan” (poganski ukras, vrsta kao Gargoyle da će ukrasiti kršćanske crkve). Nosila sam tu bravu pojasa kada se ide u Australiju, kao neka vrsta prijenosnih bogatstva (imala neke lijepe rubinima itd. u njemu.) Prilikom zaustavljanja više u Fidži zračne luke lokalnog dama požurila preko i rekao mi je sam nosio čuvara boga njezina vrata. Ova epizoda samo ukazao mi se da su ti drevni slike nadilaze prostor i vrijeme – vrsta univerzalne.” Komentari Iznenađujuće i nadahnjuje! Ljubav ovu web stranicu i velike intervjue i videa! Hvala!