ARTIST STATEMENT/TECHNIQUE/CREATIVE CONSCIOUSNESS ESSAY
I believe each of my paintings and sculptures are a visual record of my direct and invisible communion with the spiritual process of creation. A continual deepening of an ever expanding intuitive trust in this process is the practice that empowers the execution of the work's of art that I make. Faith in the will of the power of creation is replacing my less significant will and limited personal understanding of what it is to be a creator. Instead I participate in serving the process by letting it visualize through me on paper or in clay what has heretofore been unseen. The completed work's that are formed in this mysterious process have their source, as best as my finite senses, emotions and intellect can detect, that is just beyond the perimeter of my perception. It is a most real source because I experience its presence independent of my will yet it is entwined with my being and with the creation of each work.
The composer Richard Wagner wrote to his friend Frau Wesendonck.....
" The Tristan drama is and remains a marvel to me. I am more and more unable to understand how I could produce such a thing. The greatest art is the artless and comes as a surprise to the artist"
The process of creation is in a constant state of decay and renewal. So is my work. I also marvel as I participate in it. I can only look back at the finished art in order to describe it because to know what it will be ahead of its actual step by step evolution is impossible. The practice of remaining poised in a state of unknowing while working on a work of art until the unbidden ideas appear and move me into the numerous actions that create a painting or sculpture is constantly refined. It is a maturing discipline of patience, waiting and listening before, during and after a creative action is executed. I have achieved a degree of effortlessness and hence I am less mired in endless personal strivings such as color, line, volume, composition, space and concept. What is universally beautiful is in constant flux as it presents itself through me. These qualities as well as all other's that go into making a fine work often occur as transpersonal. The process of creating manifests into a work of fine art more and more now by the power of grace and less by my intent.
A Process Note: Paintings and Watercolor Constructions
The watercolors are presented as panels that have dimension to them. The watercolor constructions are even more three dimensional. This treatment is done in order to give the paintings a 'substance' because they become 'objects' and I believe have a stronger presence presented this way.
The watercolor panels are created by scoring and folding the edges. Then strips of acid free rice paper are attached to the back edge of the works, a piece of acid free paper the size of the work is then laid down and finally a half inch foam core board is placed. Then the edges of the works with the rice paper strips are pulled around to the back of the foam core panel and glued. This process insures that the painting is mounted in an acid free way. The panel in turn is mounted on a gray acid free mat and then that mat is mounted on black foam core board. The whole work can be traditionally framed.
A Process Note: Ceramic Sculpture
I generally construct each sculpture by intuitively joining dark and light clays. This is a visual metaphor for the joining of opposites and the union of diversity in life. Then I run the joined clay through a slab roller which intimately fuses the clay and gives me a uniform thickness. I begin construction of the work and it's execution is completed as I stated above and by using techniques such as scoring and slipping joints before I put two pieces together. All the work is allowed to slowly dry to become green ware. It is then bisque fired and either low fired or high fired to different temperatures. The sculpture's titled Ascent 1-4 were fired in a salt kiln. During the firing salt is introduced into the kiln and its reaction with the silica of the clay creates a beautiful dark color with a slight pebbled texture. It is my favorite way of firing clay.
My art work is about the excitement of exploring with your eyes, mind and spirit the unique and the mysterious. The work is created to have immediate impact and long lasting power. It is about seeing what you have never seen before. I hope the paintings and sculptures engage you by their power of color, motion and imagery and move you into a sense of wondering and curiosity. Right then and there you are beginning to be pulled in--to be involved in the process of discovering all the variety of shapes, the dark and light spaces in between them, how they're connected, float or seem to move fast accross the paper. I know you will often return to the painting and find new insights and associations with the imagery that will add to your overall sense of experiencing the original beauty of the creative process. These works would enliven and energize any room they are placed in.
Go to : www.youtube.com/peterscaturro for informal videos of me speaking about my work.
The Creative Consciousness
The creative consciousness--the more you explore it the more awake your mind becomes. It is the very consciousness of the process of creation. It is the living of it while executing a work in progress that takes practice. This is my aim as I paint and sculpt with clay. One of the my key experiences while in the process of creation is the gradual disempowerment of self. Its' seemingly once all powerful intellect, its' emotional joy's and conflict's and its' five senses begin to lose the omnipotence they once enjoyed during the creation of a work of art. It feels like the rug is slowly being pulled out from under it's illusion of control. Self's limited faculties cloud the creative consciousness for it is already full of infinite potential and unimaginable probilities in it's clear, unified and original state. In the absence of the once domineering thoughts of what degree of transparency the paint should be, will I achieve the right luminous purple by using a carmine red with a base of thalo blue, what thickness of line, what shapes and where they will be juxtaposed to other's, what speed, direction, and size of brush stroke, how much delicate intimacy or brash explosive boldness should be used, whether to have sharply focused edges or a softly muted swathe of spacious color, how much expressed motion or stillness and how will the microstreams of water and color flood, blend or repel one another on the surface of a paper that has a pebbled texture are just some of the former considerations. The technical as well as the aesthetic considerations while painting or sculpting can be overwhelming to the Self and it's limited ego's intellect. As I master the medium of watercolor or clay by letting it master me and then forget who is mastering who, over time, a time not of my choosing, a security in a state of unknowing and uncertainty is found and these endless considerations dwindle. After more time what seemed to once be uncertainty becomes a certainty in faith and trust in the truer creative process. This intuitive/spiritual sensitivity leads the way through the creation of a work of art that hopefully touches a universal ground of communication to those that see it and experience it.