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"Fear is only fear, and fear is bullshit. I do not shrink from fear and I do not let it affect the way I live my life"
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Patrick Pierson: A DECADE OF DREAMS, NO LIMITS
It's been thirteen rambunctious years since I began the Mariner Series - thirteen years filled with incredibly good fortune, most of which never happened: In fact, I may be one of the most alternately privileged and humble, notorious and unacknowledged, admired and berated
artists you've ever met.
Still, the Mariner Series has come a long way since I made those quirky little mermalien sketches, the sole purpose of which was to lift an emerging artist out of his down-and-out funk long enough to maybe put some food on the table for a change. To my never-ending shock and wonderment, the Mariner Series has become one of the most widely collected, longest lasting and successful bodies of artwork in history*. Now, with the recent
unveiling of PLANET ZOOTOPIA, I've come to realize just how horrific a study in the virtues of chasing a dream can be...
Just ten short years ago I was nothing if not ever-expectant regarding success, much like that doggedly determined dodo in The Dreamsmyth. I could see myself rubbing my mental hands together in anticipation of finally realizing the life I had imagined, firmly believing I had a thin thread of hope to cling to as I set sail in my little dreamboat.
It’s been my experience, as I pilot my leaky vessel of hope, that chasing any dream of artistic and entrepreneurial freedom is more akin to sitting down with the irony gods in a game of thimblerig than plotting a course up some fixed corporate ladder. It's a hard
lesson, learned only with a significant amount of humility: you chase after your dream, hunt it down, capture it alive if you can, keep it shackled to the bedpost and feed it
regularly till one fateful morning you wake up minus a bedpost and you're right back to square one.
Life loves irony.
By design, Planet Zootopia represents the very essence of the yin and yang of this pursuit: live every day as if it were your last and live forever (as the dodo knows all too well); love without condition but be a slave to your passions; prudence is a lousy handmaiden, so throw yourself into the fray with wild abandon and let the chips fall where they may - in the end you will have few regrets because it is your own life that you've filled up with
that dream, and the life you've made belongs solely to you.
I'm often asked questions like, "Hey Pat, why fish?" or, "You're kidding...dodos? Seriously?"
not to mention, "No offense, but that looks like Joe Camel," and my personal favorite, "I get it! Jar-Jar Binks, right?"
To finally set the record straight, here's my official response: All the inhabitants of Planet Zootopia - from aardvarks to zebras and every dodo, camel and mermalien in between - are anthropomorphic symbols: representations of the archetype we think of as the ego or 'self.' And what better vehicles than the tenacious little puffin, the gruff-and-tumble crustapien or the rakishly flamboyant andromedarian to illustrate with narrative and to show you with imagery a stylized reality in which the ordinary features of our world are brought into focus with wild exaggeration, the relationship of the imitation to the object it imitates being something like the relationship of synchronized swimming to dog-paddling.
On a more personal note, I am neither an atheist nor an agnostic; neither Christian nor Muslim or Jew; neither Republican nor Democrat or Libertarian; neither liberal nor Conservative or moderate. I'm just a fella with an open mind - so open that sometimes my brains fall out. While I identify with none of the above group labels per se, some of the exceptional qualities intrinsic to and unique in each one have been instrumental in making me who I am, i.e., I am an atheist and a Christian (yet neither), etc.
Life loves irony.
I neither subscribe to theories of predestination, nor do I condone notions of a preordained future that foretells events; I reserve a special brand of contempt for anything forecast by reverse prophesy. I dismiss out of hand the presumption that each of us has some special calling or sacred assignment in life, other than that of our own
choosing, and I reject all superstitious beliefs, especially those rooted in the cults that arise out of a fear of death. But I do embrace the possibility that each of us has the power to create the person we wish to be, that the only limitation imposed is the degree to which we exercise our own imagination and then act upon it: Vision without action is a daydream; action without vision is a nightmare.
Confronted with the unhappy apprehension we feel when coming to terms with our own mortality, some of us are tempted by a selfish compulsion to extend our lives beyond the last act, to leave a little token of ourselves behind - something that tacitly proclaims, "I was here!"
Poppycock and codswallop.
To my last breath...
I will strive to illuminate the world by enlightening the fertile minds of all who seek truth, both young and old, by yanking the damned blinders off any credulous fool that swoons at the mere mention of a belief in the truth of Supernaturalism, and I'll invite them all to join me as together we stand in awe of a life of our own making and the natural world in which it is inextricably embedded. Ars Longa, Vita Brevis - Art is long, life is short, or perhaps, Ars Gratia, Vita Brevis - Art for the reason that life is so short: time to get busy!
But I digress.
Set foot on Planet Zootopia and you're bound to take an anthropomorphic jaunt into the subconscious - a subtle yet thrilling, at times whimsical way of rejiggering one’s
sensibilities in order to see the world - and ourselves within it - in ways seldom imagined, that we may better understand why we are the way we are.
The reason I draw, paint and sculpt, just as I write, compose and lecture, is to share with you some of the wonder I’ve found, to uncover some of the mystery shrouded by the veil of primitive sentiments and to unmask the truth about who we are and where we’re
As for the dodo and his archrival, the camel, I consider them to be the quintessence of sardonic bellwetherers, but in unison, they're a whole flock and herd of happily well- adapted (though still short of wing and long of hump), reason-driven beings who occasionally fall prey to their own fatuous flights of fancy. Perhaps this is what endears them to us, for we see reflected in them a little of ourselves; pragmatic by day, footloose and fancy-free by night.
The ideas embodied in these urbane folktales-married-to-art may not change your life, but perhaps you'll pause long enough to contemplate a good point or two and discover
something you hadn't imagined till you suddenly found yourself facing down the beaky visage of an ordinary dodo - or perhaps, the matchless wit of the dromedary camel.
Irony notwithstanding, I should add that I believe Planet Zootopia will eventually find a home in the hearts and minds of all who seek it, and possibly those unwary enough to be taken in by surprise.
Finally, I must confess to you that at the outset of the Mariner Series I had a grand vision for the mermaliens: a concept for a CGI, feature-length, live action/animated film. Just a couple of years after I sold the first of what now amounts to hundreds of paintings sold, I began a spec script with the working title of Aquaria Rising, complete with storyboards and character sketches.
This project has become yet another ball in that never-ending game of thimblerig, but it is a story that deserves to be told, and as such, I have reconfigured it in the form of an illustrated novel, 'Mask of the Ancient Mariner.' It is by far the best thing I've ever done, my magnum opus, and I intend to see it through - to be a fool for it come what may, in true andromedarian style.
I trust these vignettes will help unwrapilate our minds to wild possibilities and teach us to appreciate the wondrous-strange experiences we share with one another: ultimately, to take off the purpose-colored spectacles and cognisize our true place in the 'verse - a place into which we've only recently awakened. This humble little flock of dodos and their diversigent coterie stand as a testament to our embrace of many of life's trials and tribulations while striving to live the life we imagine for ourselves.
For all of you to whom these presents may come, to my esteemed collectors, closest and dearest friends one and all, you are the reason I carry on, consumed with this elusive pursuit of a dream; without the continuing endorsement of my work through your generous benefaction, I might as well pack it in. So, thanks!
With warm regards, Patrick Pierson
*the history of Planet Zootopia, of course
I am Dutch based. Photography is one of my greatest passions. Although I am self-learning, self-taught, life experienced photographer, I took a study in photography and some master classes to improve myself and especially to learn from others.
Walking through cities and landscpaes, I always think in pictures. There's always something amazing just around the next corner waiting to be immortalized if you know where to look. I see photography as a way to experience, understand and explore the world that we live in.
I would love your visit to my website: www.harriehaaima.nl
ART IS MY PASSION
Worte sind oft zu begrenzt. An diesem Punkt
fängt für mich das Malen an. Es ist für mich eine
Alle meine hier gezeigten Werke/Bilder unterliegen dem gesetzlichen Urheberrecht. Jegliche Art von Manipulation, Vervielfältigung, Kopie, Verteilung, Verbreitung, Blogging, öffentlicher Wiedergabe oder sonstiger vergleichbarer Nutzung ist untersagt. Jeder Verstoß hiergegen wird straf - und zivilrechtlich verfolgt.
THE BIG CIRCLE
There`s no beginning and no end, the journey is inside us.
Be happy ! ( Mohicans )
Ich versuche bei meinen Fotos die originellen Details aus Landschaften und Natur herauszufiltern, die dem Normalo verschlossen bleiben.
Hierbei spielt das Licht eine dominante Rolle.
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All Rights Reserved. These materials are NOT public domain and may NOT be edited, copied, altered, displayed, reproduced, printed, distributed, performed. Any usage, in whole or in part, without written permission from the artist is strictly prohibited. Please respect copyright and do not save or upload any images.
I see a beautiful, joyful, meaningful life around me and want to show it to others. Through photography I strive to show to every person that they have their special beauty, big shiny world which should not be hidden behind personality complexes, but shown to others. When somebody starts seeing the world in a brighter light after the photoshoot with me or after looking at my works – I am happy,
Randy Sprout began his art career in 1964 at the University of Iowa, printmaking and studying with Mauricio Lasansky and Dr. John Schultz. His works were mostly about images of his family, as icons that would hold up to artist scrutiny for decades to come. Army service in Korea interrupted his art for two years, after which he studied with Robert Heinecken, Jan Stussy, Ray Brown, Sam Amato, Richard Diebenkorn and Stanton MacDonald-Wright, in the UCLA Graduate School of Fine Arts. It was there he began to draw back into the photographic plates and learned how to work and manipulate the images from within the media, rather than relying on the camera. He had many shows during that time, including a One Man show at the Santa Barbara Art Museum. He also worked during that time for the LACMA museum, with Ben Johnson, and got to restore many priceless prints for Norman Simon.
Working closely with Jan Stussy and Stanton McDonald-Wright, he began painting and his drawings began to get larger and better. In 1973, he was awarded a Fullbright Scholarship to restore some Goya steel-faced etchings at the Prado, in Lisbon. Then Ruth Weisberg of the USC Department of Art reached out to him, and he worked there for 2 years. After that, he taught teaching and printmaking for 4 years at the UCLA Art Extension then taught painting, printmaking and drawing at Pierce College. He coauthored the book “Innovative Printmaking” 1977 Crown Publishers, New York.
In 1977, Randy got his real estate license, opened Century 21 Hollywood Inc., and focused on running the business and making it a successful franchise. He still doodled with pen and inks, especially at the beach or on vacations. But it was not until 2008, when he saw the Gold Medal show of Plein Artists from the California Art Club in Pasadena that his passion for this medium began. His first paintings in this medium were in Barcelona, on the streets, setting and drawing the waiters and workers in the wonderful fall light striking down between those old buildings so close together.
His work can be found in the following Collections: Archives Ohlone College, Fremont, California Grunwald Graphic Art Center, U.C.L.A. Photographic Collection, School of Fine Art, Ohio State University, Photographic Collection, Oakland Museum of Fine Art, California
44 U.S. Embassies around the world, Photographic Collection, U.C .L A
Fall River Art Association, Mass. Photographic Collection, School of Fine Art, University of lowa. Print Collection of Los Angeles County Museum of Art.