Amy Ione
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Cézanne once commented to his friend Jacques Gasquet on his desire to make an art that was eternal like nature and more than just fleeting impressions. I share his desire for making art that does not record art world fashions and comment on current issues, as important they are today. Still, perhaps, because I live in a different time than Cézanne, how my work takes form is more of my era than his. I see the image as more flexible and elastic than naturalistic; a form of expression that Cézanne seemed to discover in some of his later work. I am drawn to ask how do both artmaking and viewing help us see, grasp the complexity of vision and take hold of something that transcends the fashions and issues of any time.

As such, making a statement about art has always seemed like a contradiction in terms. My statement is the art itself. In my experience, words are not the same as imagistic statements.

Over the years I have explored artmaking visually and viscerally. I have also explored it academically. It is the studio engagement that I find most fulfilling. Indeed, my exploration with art as a practice continues because the results work in a way that makes me want to keep working. As I engage in my daily practice, I find that I continually re-discover my materials. I learn to push them in new directions. I also learn about scientific research as I “see” unexpected nuances in my art and am drawn to learn more about them. In addition, I learn about the work (and the world) outside of my studio as my art travels into the community. I also have learned to love the “exercises” that fail. Sometimes they simply record an effort to see something I could not find. At other times, the energy expended to make sense of something visually leads my work in new directions.

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