But I’m an illustrator…artist’s
statements are for fine artists…why should I need one…?
In
addition to having an effective bio statement, these days, illustrators need to
have an artist’s statement. And whether it is written by the illustrator or
written by a “ghost” writer, an artist’s statement can provide desired
information to a reader in the absence of the illustrator, or even examples of
their work.
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| © 2014 Don Arday. |
What An Artist’s Statement Is
Many
people don’t realize that most fine artist’s have more than a single artist’s
statement, and in fact may have created several of them. They most likely
will have a general statement, which is meant to serve in non-specific
situations, such as online, social media postings, or for other media
publications. Artists will also create specific artist’s statements, that each pertains
to a specific art installation, or to a thematic body of work. So some artist’s
who explore a variety of different directions for their work may have written a
number of individualized statements.
An
artist’s statement would be more aptly titled, “an artist’s ‘art’ statement”,
for it is really the art itself that is being written about, not so much the
artist. One way to look at it is as a biography, not of the artist, but of the
artist’s work. Another way is to think about it is as a story of your art.
What An Artist’s Statement Is Not
It
is important to remember that an artist’s statement is not strictly speaking a
personal biography, although it usually contains biographical elements for the
purpose of establishing a context for the artistic narrative. Let your bio do
the job of providing information about yourself, position, qualifications and,
achievements. Allow your artist's statement to speak about your art.
The Proper Voice
There is some debate concerning whether
an artist’s statement should be written with a first person or a third person
voice. Depending on the purpose for the statement it may be appropriate to use
either. The first person voice is a more personal way of stating things. The
third person voice is considered more formal and impersonal. Many fine artist’s
prefer to write using first person form, especially for exhibition specific
explanations their work and processes. For this sort of purpose, the first
person form is perfectly appropriate, whereas for a more general, holistic
purpose, the third person form would most likely be more beneficial.
First Person Voice
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| © 2006 Don Arday. |
The abstract works represent
a total departure from the genre, style, and direction of my past work. The
works are a part of
my ongoing series that is based on the perceptual effects
of association and geometric logic. They are concerned with the unraveling
and/or building recognizable patterns, and a search for meaning in the
discovered forms. The composition, surfaces, and elements within the image
suggest possible identifiable, familiar human traits, expressions, etc. I call
on each viewer to exercise his or her own set of visual beliefs. However, the
number of elements and inconclusive suggestions for a viewer invite them to
constantly reevaluate their perceptions.
My process of creating the
works involves an investigation into decision-making, connoisseurship,
intuition and serendipity. All bear a central role as intangible influences on
the effect of a completed work. Viewers are engaged in the process of forming
images in an attempt to define their own parameters for the image. The
complexity of elements within the images challenges the attention capacity of
the viewer compelling them to engage in their own manner of perception,
judgment, and discovery.
My
work is created digitally using raster and vector based software programs.
There is no acquired imagery of any kind used. All forms, textures, objects,
and lighting effects are digitally created. All elements are prepared in
Illustrator, exported to Photoshop, and customized for final output.
Third Person Voice
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| © 2000 Don Arday. |
Don Arday is Professor of
Illustration in the School of Art at Rochester Institute of Technology. He has
produced award-winning illustrations using computer media for Forbes, Coca-Cola, AT&T, Pepsi, Sprint, Fidelity Investments, and CNN to name
a few.
The
work shown here presents narrative themes. The illustration themes were
inspired by story concepts, content, and context. Although the images were
created for a particular story, seen out of context, the narrative works invite
the viewer to define their own version of a story, which will be influenced by
their own history and associations. Several works were commissioned for
corporate and consumer publications.
The works presented are
created digitally using raster and vector based software programs. There is no
acquired imagery used in any of the works. All forms, textures, objects, and
lighting effects are digitally created. All elements prepared in Illustrator,
exported to Photoshop, and customized for final output.
What Should Be Included
A Description of the Art
The
physical appearance of the art should be briefly described. Although artist’s
statements are usually seen in context with an exhibition or examples of the
art, sometimes they are not. Using distinguishing adjectives to help describe
the art can add interest for the reader.
Example: Described as logos
on steroids, the bold geometric forms in Don’s illustrations give them an
iconic appearance.
A Historical Context
All
art, or in our case illustration, has a place among other art and illustration.
And is usually influenced if even subconsciously by other art. Influences are
appropriate within this context.
Example: The illustrations
evoke the mechanical simplicity and directness of early 20th century
applied advertising art as well as other art genres such as Art Deco.
A Biographical Context
As
artists the directions our work takes and what we wish to express within our
work are often influenced by our past personal experiences. Each and every
artist has a unique background, which shows itself in the personal preferences
that influence the appearance and provide an inspirational basis for our work.
Example: Having worked as a
graphic designer for many years, Don applies a conceptual methodological
approach to create inventive visual interpretations of narrative subjects.
Media and Techniques Used
Readers
and viewers of the work will be interested in how it was achieved. What media
and or materials were used, and the way the media was applied to create the
work—in other words the artist’s artistic process. Whether the art was produced
with traditional materials and methods, using digital techniques, or a
combination of the two, this information should be provided in an artist’s
statement.
Example: All of Don’s
illustrations are a combination of vector- and raster-based digital software. By
combining Adobe Illustrator with Adobe Photoshop Don is able to utilize the
best of both digital environments. The “drawn” portion or basic structure and
coloration of an image are laid out in Illustrator. Don’s work requires the
utmost placement and compositional accuracy. From there the “design” is
exported to Photoshop where photographic and painterly techniques are applied.
All textures and any environmental effects such as wood grains, or cloudy skies
are digitally created if not in Photoshop, then by using Daz 3D Bryce.
Content, Concept, and Context
If
there is an ideology that underlies aspects that appear in the artwork, then it
should be explained. A body of work usually has thematic overarching concepts
that weave though it. An artist’s statement identifies and explains the context
for these aspects and concepts as they relate the work. Illustrators may not
realize it, but the reasons behind the decisions that are made in the work are of
interest to an audience and are equally as important as the physical aspects
displayed in the work.
Example: Abstraction of form
and a deliberate visual understatement of detail are themes common in Don’s
work. The images call on the viewer to understand a narrative that is visually
presented as a combination of simplified geometric forms. The abstractness of
form gives the illustrations a unique identifiable style.
What Should Not Be Included
• Quotes
about your art made by others such as clients, art reps, and colleagues.
•
Uncommon language, such as colloquial slang, or invented phases.
• References
to little known sources that require their own form of explanation.
• The
mention of other artists for the sake of comparison or name-dropping.
•
Non-relevant information such as statements that are off topic.
• A
diatribe or any other form of criticism.
• Imperative
statements that appear as commands or directives to the reader.
•
Exclamatory sentences that display excessive emotion.
•
Excessive background information.
