Randy Thurman's Digital Revolution
An online exhibition of Truly Virtual Web Art Museum
Launched December 2007    All works copyrighted by the artist

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Randy Thurman's Philosophy on Art and “The Art of Conspiration”

 

The Philosophy behind the Art of Conspiration:  Why does the artist paint?  Is it not the artists main goal to express some thing, to convey some message or meaning to the viewer?  Without the viewer there is no need for the painting. If there is no need for the painting, then there is no need for the artist.  In an ideal situation, when this triangular convergence of art, artist and viewer occurs, it produces the Art of Conspiration. 

 

                    Art

Artist Viewer

 

The art, artist, and viewer form this triangle, and if we remove any one component there is only non-existence.  This symbiotic triad of components works in almost any situation, whether dealing with art, nature or economics.  A shared empathy between these three components of the triangle is essential to creating the ideal situation, facilitating the Art of Conspiration. 

 

 

“If art cannot affect the way in which we live, think, and believe; it is useless.” – RT

 

 

The Conspiration of Art:  The term 'conspiration' denotes a certain technique used to harmonize breathing between two or more persons. The knowledge of this technique has been handed down through the ages. When applied correctly, conspiration can be used to successfully control a given individual's psyche, even his or her sexual desires. Should not a work of art also accomplish these same goals through color, brushstrokes, geometric patterns and their specific placement, as well as figurative representations of the human form?  Art should be a very intimate experience between the artist and the viewer.  A great work of art gives the viewer a deep look into the artist's psyche while subconsiously the art itself penetrates the viewers thoughts, melding the two into a union of shared empathy. The controlled breathing technique of conspiration can be aptly applied to the profound bonding of the artist and the viewer. Do you not feel your own breathing change subtly or sharply as your eyes behold and move over the surface of a painting, sculpture, or other work of fine art. If only for a brief moment the artist and viewer become one.