Artists Statement
Peter Lewis
The choice of subject matter or content for an artist can come from
a variety of sources. Artistic lines of investigation can be influenced
in many ways, by observed events, conceptual thought, personal circumstance,
direct experience etc.
The present “Intifada” (or uprising) seen in the Middle
East has been the focus for many artists in the region. This information
(both historical and contemporary) has been explored and reinterpreted
by Palestinian artists who wish to bring their situation to the world’s
attention. It has not been a sudden phenomenon in their artwork, but
has evolved over many years to express a collective grief felt by
most Palestinians. Indeed by doing so they are reinforcing how their
art is linked to their daily life, choosing art as the vehicle to
demonstrate a variety of concerns.
Post September 11th much has changed, perceptions of justice, human
rights, political and military acts have overtaken peoples lives,
leaving many disillusioned and unable to effect change. Often in these
situations the creative arts are the first to respond and Galleries
reflect this by renewed interest in showing artists engaged in these
particular lines of enquiry.
One of my primary aims is to obtain a better understanding of the
subject matter Palestinian artists explore, eventually making this
more accessible to Western culture through my own practice. Hugely
influential is the use of the internet/email for information gathering
and communication. This helps in two ways firstly as a research tool
but also in the formulation of my own ideas leading towards the development
of a particular piece.
Through recent investigations I have been able to critically analyse
“content” within Palestinian Art and have made some observations.
Certain topics are revisited more often than others – the artists
focus on recognised concerns and issues, symbolism plays an important
part in their art to convey meanings and emotion, narrative is of
particular significance to portray a series of events etc.
In addition to “content”, an interest has developed regarding
an artworks aesthetic content, its execution, competency, understanding
of media/materials, professional finish etc. Has the political referencing
become so dominant thereby stifling artistic considerations- lacking
much value beyond its message? There is further debate about the preoccupation
with subject matter and how a balance is achieved.
The issues outlined above all have a bearing on my own ceramic practice,
evaluating and articulating information, interpreting ideas and the
practical activity of making and display. At present I have more ideas
and directions to follow than I can deal with at any one time, but
that’s how it should be.