Intention and interpretation. These are the two main coordinates of contemporary art, and without understanding the first, the last might be manipulated into the viewer’s own perception. This is the reason why many complain of how modern forms of art lack a message, an intention, when, in fact, the audience remains completely ignorant to the artist’s intentions. And although the artist’s intentions might suffer modifications throughout the art-making process, many are driven by the motivation of expressing their most intimate processes, and creating something that represents them in the smallest details. Take Loris Gréaud, for instance. An extraordinary artist, an “aesthetic adventurer”, that finds his inspiration in the most unusual and edgy events. Thus, his art is extraordinary, hard to assimilate and interpret appropriately by the viewer, comes in a different package, which makes him a prominent figure in the world of conceptual art.
Blunt approaches, the excitement of mind, this is what most contemporary artists want to express via their work. But where does the gap between intent and perception appear? Many claim the beholder has the answer. Namely, in our case, the viewer. And the viewer’s flaw is that they look at an exhibition as a single piece of art, when most of the contemporary artists continue and develop their set of intentions from an exhibition to the next one.
Fact is, becoming aware of the artist’s intent, enriches our artistic experiences and allows us to process the event at a more elevated extent. Art is subjective, of course, but if one ignores the artist’s intent, they are less likely to enjoy it and perceive it, as they should. But once the art is created, once it leaves the artist, it becomes entirely of the audience’s to handle it and find an expression in it. But some artists, such as Loris Gréaud, found a way to make their intents known to their audience in a larger proportion. What is known as conceptual art has this as a main purpose: to exploit the concept that gives birth to it, and to manipulate it, by using traditional objects. What most artists struggle with, letting go of their art, others find easy. They destroy in order to emphasize the main idea behind it. They strangle an exhibition from the beginning, with the sole purpose of creating a new start, a beginning in which their intent in fully known and assimilated by the audience. The purpose of cathartically curing the soul of the artist, via cultural vandalism. The ultimate form of sacrifice for an artist, the act of destroying their own creations, comes to fill the gap between intent and interpretation. But few are the wonder children of art able and willing to do so. Until artists learn to let go of their art, like the brilliant minds are able to, there will still exist that gap.
Art is in the eye of the beholder. But by researching the type of art each creator uses, by becoming familiar with the ideology generally used religiously by them, we can comprehend it in a more accurate. from.
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