Kenneth Wesley Clark
Statement of Purpose
Since beginning my career as a visual artist in 2003, I recognized and pursued my desire to produce works that derive from artistic concepts of an analytical nature.
Line—quite possibly the simplest artistic element to create, even though it is the backbone of all else—has shifted its place in my work from the process to the product. I spent the last few years focusing my attention on the quality of line—its acute nature to be rough, smooth, thick and thin. Line is no longer an afterthought—it is a conscience, living facet in each piece. My interest in line began with the influential works of abstract artists Norman Lewis, Danny Simmons, Jackson Pollack and Wosene Kosrof. However, through examination of the work of Egon Schiele, line drawings of the figure became my primary focus. I paid close attention to his delicate line quality—especially the beginning and ends of the line and the subtle breaks. From the painted line to the drawn line, I have produced contour drawings of the figure in linoleum and have found the process to be most rewarding.
This study of line became the basis of my current body of work—the silhouette series. These works center on relationships of the objects in the work as well as how people interpret the objects. I explore the relationships between figure-to-figure, symbol to figure, and text to both figure and symbol. These pieces, often-colorful works on canvas and paper, implore a variety of media including, but not limited to ink, charcoal, acrylic, and linoleum block printing. The position of the silhouetted children is such that their direction and purpose vary based on an individual's interpretation of the composition. Everyday images such as bottles, crosses, moons, and birds, are juxtaposed and are recurring icons that appear simplified, in either outline or solid forms, accenting the scenario while adding to the dialogue. Script floats between layers, oft times illegible and varying in size, and consist of the writings of Ayi Kwei Armah author of Two Thousand Seasons and writer Zuri Blount-Tate. This selected text, which tends toward transcendence, is a guiding influence over the direction the work. From the combination of these components, viewers are able to generate stories that stem from their personal experiences.
This body of work is not only about exploring one's connotations of the symbols, text, and figures used but also about my own response to the same icons. Recognizing recurring use of certain imagery in previous works led me to research the psychological theories related to symbols. Recently, I began reading the works of Carl Jung exploring symbols and their recurrence and ever-evolving meaning to dreams. The readings thus far have paralleled the dream-state environment, which exists in most of this series.
As I continue to investigate the relationship of man and symbols and imagery derived from line, I have plans for working with line alone and developing ideas that use line in its purest form. Included in this process is viewing the line as a melody and taking works by guitarist, Eddie Hazel of Funkadelic and translating the journey of his “motion picture” solos into large line directed works (possibly abstracts). Additionally, I desire to produce large-scale black and white prints, either linoleum or etchings from contour drawings; with the possibility of incorporating contours of the iconic imagery from the previous silhouette series.
Two years ago, I began taking classes at The Art League in Alexandria , Virginia , to continue to develop my drawing and painting skills, and to learn new techniques and processes such as printmaking. These courses have also furthered my thinking and my pursuits in art. Additionally, I have always wanted to create whatever it is that I see and like in the world. This drive led to me learn the art of crocheting, sewing, leather work, graphic design, and many other skills—more hobby based, yet feed me creative energy. Some of these “hobbies” have now turned to viable sources of income. As the Art Director for Artwork Mbilashaka— an artist collective with a focus on artistic marketing for corporate clients— I have positioned myself professionally, and through use of my graphic design skills, I receive residual income from designing cell phone wallpapers for Sprint, Nextel, Boost Mobile, Virgin Mobile and now AT&T. From my work experience at the gallery, Renaissance Fine Arts, as an art installer, I was able to leave and create a business installing artwork, mirrors, drapes, and sconces for both corporate and residential clients—which include AFL-CIO, Lupus Foundation of America, Congressional Black Caucus, and many other non-corporate clients. My business also allows me to cater to prestigious art collectors–those that may loan work to the Smithsonian and other art institutions and art enthusiasts, which, in turn, allows me to further market my own artwork. I have worked hard at maintaining and sustaining an environment that financially supports my dedication to my artwork as well as my lifestyle.
