Asami Ohara—workshop #2

Here is a pair of drawings which I selected for this week workshop activity. The top one is ‘Outlived I’ and the bottom is ‘Outlived II’ both are done by an American artist Pat Perry in January 2012.

There are similar but different landscapes of an abandoned place on a boy and a  girl’s head.  Those drawings give you very sad and lonely impression, and don’t allow you stop thinking after ‘wow, these are amazing’.

I wondered if they are a right choice, because the drawings are too new and so as the artist who is apparently young, and it’s not been long after he’s known to the world. For me, it seemed easier to focus on very famous artists from the past, so the sufficient information is on the internet and books, and the artistic styles of him/her are already discussed enough. Despite this, I liked Pat’s art and a kind of philosophy belonging to him, and it made me think it is challenging but worth to research on a new artist.

A major part about him is unknown, so this is difficult to tell about ‘manifest’ of his work. In one of a few interviews, he answered to a question ‘What are you trying to achieve with your art?’. He says his aim is to ‘encourage people to look at the world in a different more beautiful way’ through the art. It means his art is not only telling people the artist’s aesthetics and something inside of him but asking people to feel and think by themselves.

I often have a too passive attitude towards art pieces, or oppositely I am too enthusiastic to lean something from them. However, Pat’s drawings let me think in a natural way apart from academic aspects, and I enjoy doing it. I can say this is why his art attracts me and many other people.

outlived_I_sample_543_700             outlived_II_sample_543_700


One thought on “Asami Ohara—workshop #2

  1. This is a great pair of images and I salute you for being so prompt–the workshop isn’t for over a week and we have a lecture beforehand, so if you have more ideas or more comments you want to make after the lecture that would be great. The pictures feel sad, an dthey hold your attention with their detail, they force a shift of attention to the different levels on show, and the skill holds the viewer as well. In the lecture on Thursday I’m going to talk about the apparent regression of style in recent drawing practices–an assertion of observational an dnarrative skills that modernist artists thought they had dismissed for ever, I believe! So it’ll be interesting to hear if you have any comments on that aspect of the style too. I’m interested to know the context they were made for–was it an exhibition or online shwoing, or for a commission of some kind?

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