ABSTRACT ART IS A WASTE OF TIME AND OH BY THE WAY THE WORLD IS FLAT.

‘Your painting is like the dirty rag a real painter wipes his brushes on’ was possibly the most seriously insulting comment I have received on social media- so far… Because I believe in what I do, because over the years I have learnt to live with my sensitive spirit and build the resilience muscle to support it, and because I do believe that everyone has a right to their own opinion, it didn’t affect me unduly; however I was horrified to witness the Twitter bashing that an artist colleague received after being put through to the next round of Sky Arts Landscape Artist of the Year competition. Her painting, (excellent, in my view and rightfully rewarded) was guilty of the heinous crime of ‘not looking like the view’, in this case, the beachfront at Broadstairs, Kent. The disparaging, disheartening and downright offensive remarks against the artist, the artwork and the judges left me feeling upset and angry so I left off writing the blog post about how art can bring joy and peace into our lives and wrote this open letter to the Twitter nay-sayers instead.

‘Dear @abstractartisawasteoftime,  (*some names have been changed ???? )
Modern art, contemporary art, abstract art. I’m not saying you have to like it, but if you want to have an opinion, especially on that is aggressively expressed, please at least try and understand it a little. Believe me, it will expand your worldview, your mind and your tolerance for things that may make you feel uncomfortable. This is a good thing, for us as well as you.

You say that you/ your dog, child/ grandmother could have done it. Isn’t that also a good thing, that anyone COULD make it- the democratic nature of art is one reason it has endured and flourished -but of course, not everyone chooses to? You sound so angry- why? I wonder if it’s about fear. Fear of getting it wrong. Maybe you had a bad experience in the art class at school. So many of us did. But what if I gave you a golden key that liberated you from that fear forever? Well, here it is; key= you are free to make your own interpretation! You can assign your own meaning to it. There is no code to break. I’ve witnessed my mother-in-law tie herself in knots trying to find objects- not meaning- things- in my work.

“Oh- is it a jellyfish?”
‘It’s not anything, ma. Just think, how does it make you feel?”
“Oh. Well, I can definitely see a man in red. Look, there’s his arm… “

Sigh… I’ve tried to encourage her to relax, to experience the paintings in a different way, and feel it in her body. I explain that being with art is not just a visual experience but emotional, sensual, visceral. She doesn’t hear me. She laughs and heads back to read the Daily Mail. It’s easy to make fun of things we don’t understand. Or get angry.

I promise you. If you would take time to open your mind and take time to find out what the artist’s intentions and motivations were, what inspired her, and not only judge the aesthetic outcome, you would at least be giving yourself a chance to understand. If you don’t think any of that matters then, by all means, please move straight along to the ‘twee’ section of the art gallery.

Above- ‘Yes but where are the seagulls?’ Work in progress, Brison’s Veor 2018

You say you like to see the detail of what’s there. If it’s on the beach, you want to see it in the painting. Why, exactly? Where are the boats, the children eating ice cream? Is this painting a survey of how many sunburnt bodies or avaricious seagulls are out there today? Close your eyes for a minute and imagine for yourself the next layer down; the history of the place; its faded glory; what the atmosphere might be when the sunburnt bodies go home. Isn’t that an interesting story to try and tell?
One of the biggest skills I am continuing to learn as an artist Is how to make a piece look simple, spacious and effortless. The skill is in knowing what to leave out or take out. For a long time I’ve worried that if my paintings look too simple (in other words they contain the breathing space and organic, flowing brushstrokes which I yearn to achieve; ) that I will be accused of ‘painting like a child’. Of course, Picasso would agree that this isn’t the insult that it’s often intended to be. Maybe a child, on a lucky day, might be able to get somewhere near it, without the colours turning to mud, but it’s unlikely she would achieve the rich and textured layers building a history of thought and intent in the piece. They might happen upon a composition or colour combination that hints at a time and a place, but could she repeat this happy accident over 4 hours, four years, a whole career? I don’t really think so, do you?

Above; Thinking about the LongBarrow, Carn Gloose. Monoprint 2018

@abstractartisawasteoftime, where do you draw the line of what is ‘proper’ art or not? It might help to explain some of the reasons why I make abstract art.

First, I spent many years as a professional photographer replicating the human form in realistic detail. In the end I found the process to be boring and uncreative, as much as loved the people, and of course, you have a camera in your hand right now so you can take those photos yourself. Why should I aspire to paint like that in return for peanuts? Remember that historically, the role of art was to represent reality for those who had the means to commission it; portraits and landscapes. It was expected to look real; with, I’m sure, the odd carbuncle removed. Once photography became widely accessible, more experiential and creative forms of art began to flourish.

Above: Boulders, Dartmoor 2016 Mixed media on paper

Secondly, I have really, really bad eyesight. I often wear glasses on top of my -8 prescription contact lenses and I still can’t see clearly. My world often passes by in a blur. Add to this my inability to concentrate on a single subject (still life,  life drawing)  I have absolutely no chance of achieving a hyper-realistic style. And absolutely no wish to do so, though I admire and respect those who do. Who is to say the way YOU view the world is the same as how I view it? Is your way the only way? What about my elderly mum, who is developing cataracts in both eyes? Does her vision of the world count for any less?

Third, maybe in compensation for my poor eyesight, my other five senses (yes, I have a strongly developed sixth sense, but that’s another story) are hypersensitive. My experience of a place is informed by what I hear, smell, feel and sense whilst I’m there, as well as any memories, connections and relationships I associate with it. Do you see, what it looks like is only a small part of the pie? If you don’t immediately understand it, that’s ok. I’m not going to give you answers or explain to you what you should be feeling. That’s your job, and like any worthwhile task, it takes a bit of work. Not interested in working at it? Move along; chocolate box art thataway ….

Above: Details from Orlando, 2016 Acrylic and Mixed Media on Canvas

Finally, I’m not interested in a perfect replication, because I think that’s unimaginative. Soetsu Yanagi, a writer on the Japanese tradition of Wabi-sabi, wrote:
‘We in our own human imperfections are repelled by the perfect, since everything is apparent from the start and there is no suggestion of the infinite.’

Where is the joy in that? I often want to say more about the world than realistically depicting a view can show. My brain gets easily overwhelmed with the complexities and sadnesses of life and art is a way to process it. I have painted pieces about memory loss and dementia that don’t include old people in them. I have painted a piece about mass shootings in the US, with no motifs of dead bodies, no blood. I’ve been working on a piece today about the bodies buried in a Bronze Age Burial Chamber. No skeletons.
Artists will very often have a lot to say about the world but may not have the words to do so. Through painting, sculpture, theatre, poetry or music they find a platform to express themselves. Some have become vehicles for social change, others have been oppressed and victimised. Many were just laughed at and scorned (even before the advent of Twitter.) They said Van Gogh’s insanity was eclipsed only by the madness of his painting, and he sold only one in his lifetime. Monet, Vermeer, Keats; there is a long list of misunderstood artists who have only become recognised after their deaths, but have since been revered as game changers.

@abstractartisawasteoftime, I hope some of this makes sense to you. If you choose to ignore it, that’s fine with me. But please, when we artists pour our heart and soul onto the canvas, please know that the work is hard enough anyway without the scorn of the armchair critic. Constructive and sensible feedback is always welcome. Insults are not.

Yours, Maz

Above; The Lost Words, Encaustic and Mixed media installation, Penwith Gallery St Ives 2018

My artist friend who was the subject of this ‘discussion’ on Twitter was expecting the backlash, obviously having known the result for some time and rightly judging that it would be controversial. She felt prepared for the response and dealt with it beautifully and, thank goodness, will continue to send her art out into the world. She is not the loser in this; the losers are those who are missing out on a chance to broaden their horizons and embrace the challenging , frustrating, bloody beautiful world of contemporary art.