PUTTING 1 FOOT BACK ON THE GROUND

Pygoya April 12, 2004

 

 

It has finally happened.  I am pounding the streets like any other artist, looking for show space and storage. Most importantly, networking with the community emerging artists scene.  I had been perfectly contented working only online, in global cyberspace, making new worldwide friends and contacts, spelling out Webism, - or art FOR indigenous internet visual arts culture.  This virtual reality for cyber art is showing within the realm from which the work is conceived, from the digital.  Technology spawning it's own art within its own operational domain where it dictates its alternative existence.

 

This led to a 2003 show-and-tell escapade to Europe from my Pacific island.  It was retro, but revitalizing, to participate in traditional print, mat, frame and hang displays in real space again, especially in Europe, quite exotic to this first time visitor.  The Webists organized group shows to show the public what special art exists online, where to find it, and share our vision with those who are foreign to the internet.  To computers. The images were well received by every audience, new art to virgin eyes, for the cause of global love, peace, cooperation, and cultural integration.

 

Then something happened when I returned to Hawaii.  Yes I made more cyberart, did more Webist interactive projects, installed more online shows at my virtual online museum which I have nurtured since 1997.  But I still had the urge to print and show here too. My work had taken a turn, I was on to the excitement of converting original monitor images into completed Giclee prints.  I had become a painting designer transforming digitals to oils, to serve as  templates, for the final signed & numbered print editions. Got an agent do the acceptances and rejections for me with galleries.  Came up with a show schedule, just like the good ol' days.  Bringing forth my work offline was like an artist arriving from another planet to show weird pictures,  to the many earthlings letting cyberculture pass them by.  Until the contrived encounter with my work, like in Studio 1's street display window.  I gain satisfaction thinking of the multitudes sitting in passing buses that spot the art in the building's window displays, a first time personal interaction with digital art deprived from the Web. Getting shows have come easy for the agent.

 

My motive is not just to promote my art and sell like any other artist but to building a trusting network offline to accommodate introducing the international array of digital works available online to the local public.  To Hawaii.  To the local art scene.  Maybe someday soon a Webist or cyberart gallery and even possibly a museum. Not virtual in cyberspace of the Net but this time a real museum for cyberartists.