|Henri Matisse, Le bonheur de vivre,
1905-6, Barnes Foundation, Merion, PA
Fauvism occurred around 1900 and continued past 1910. They say everything continues in a circle and repeats. The !kohaus Avant~Garde art was conceived as a thought in the late 20th century circa 1995 and began to gain traction in the early 21st century about 2007. Is this a strange 100 year coincidence? Or the just the cyclical inevitable flow of the universe?
The Fauvism artists or Beasts as they were known, borrowed heavily from the past art and style of Africa. Raw and unsettling in their imagery is what caused the name Fauvism.
But now let us move to 100 years from 1900. To the dawning of the 21st century. As the founder of the !kohaus art movement I decided to change the whole dynamics of how we perceive art and I began to collect like minded individuals. Not to build on the past, but to explore the future.
|“Carlos” Darfur World 2007|
Of course this can have inherent problems, because of course I, the artist known as “Carlos” am Afro/Hispanic ( a term I coined to explain my racial an ethnic heritage) and not exactly the picture perfect image of the typical darlings of the art world. Not only that, but my cadre of artists and I, did not borrow from the past. No, instead we borrowed from the future. A more promising land of exploration where no eyes have set forth before, unless it were to have been the minds eye as I explained in a previous post.
So now that brings us to our movements dilemma. How do we support our selves as artists? We don’t! We let our art support us. You see somewhere there is those few lucky people. One who had bought one of my early watercolors on paper around 1977. Other’s that dared to see something that said this is different I must have this work because I understand it, and it understands me. Only the future will tell you see. These artists that dared to walk among the regular folk and said, “We will not rework the past, we will pre-work the future”.
We continue our work even though projects may keep us from being in constant social contact and our followers may not understand the creation process. Our pioneering work in presenting digital images for commission will be continued rather than the wasteful creation of works that we are not sure anyone may care for. When our patrons realize what we do, we will again start to embrace our state of the art printer TLK Graphics of Colorado USA to produce for us the very finest museum quality works that are well and above worth the higher price points as the patron who purchased Maryborough Waterlilies number 10 of 11 for $170 may soon find as an investment work besides the enjoyment