"When you give people too much information they instantly resort to pattern recognition. The contemporary artist is always seeking new patterns. Which is his task... the indispensability of the artist..." - Marshall McLuhan (interview 70's)
"Men have become the tools of their tools" - Henry David Thoreau, (1817-1862)
seeing - gestural
The above red seal, ch'i yûn, implies life-movement. "In unknown world the comprehension create new enlightenment and connection. Like in realm of freedom you are unity of aspiration and truth as an implication of life. You always in illusory state, but its imagery beauty of universe"*: unedited reflection on Buddhist/Taoist expression seals by interpreter, Tsu Tse U, 1995: private study under registered Gongbi (fine brush) master, Zhang Shi Qing, on the N.Korean border. Art is illustrative, decorative and significantly, meditative.
In 1992 a Beijing painter (psychologist) Gong Tie Gong collaborated in the Brussels studio employing a wide range of traditional materials and methods in the abstract (Xeiyi: ancient, not modern). A series followed, mainly represented on this site.
Though born and raised on the American West Coast, "The New" has long been a multi-cultural experience... an interpretive engagement... arears pursued: multimedia, song, soundscape, early HD painting with light . Theatre work, studio recording and post-production...
*excerpt is on the home page
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Brian Averill was recognized in art in the first year of schooling and soon excused from all classwork to draw. By age 14 he was a candidate for USC school of fine art (image below). However, family moved to Portland where, later, multiple academic invitations came in while attending Portland State University for two years of studio art, art history and sciences. With a BA from the University of Maryland he attended for a while the fine art academies of Brussels and Antwerp with a focus on life drawing, post-modern art schools being auto-didactic.
"The essential aspects of the artistic experience of Brian Averill are, in my view, divided up into two areas.The first is marked by abstract and informal experimentation that motivates both his aesthetic and spiritual life. The quintessence of his artistic message, being without reference to the concrete or the figure, finds its source in primordial depths. The second aspect is directly linked to the first and concerns the probable and perceptible confrontation between visual art and music. Averill is also a musician, something reflected in the visual characteristics of his works. Relative to the language of Averill, a triangle can be imagined, its base founded upon music and visual art. At its summit a spiritual tension is both the source and horizon of his expression..." - Giorgio Agnisola, Art Historian & critic, Italy
averillart@gmail.com
mankind is one: Bahai.org
