A true weltgeist experience

5 min läsning

Possibly the most convincing argument I have listened to was discussed within a web debate on the Institution of Art and Ideas forum “Let the Light in” on iai-tv. It was forwarded by Professor Hilary Lawson A philosopher who came to the conclusion that he was a ‘Post-Post-Modernist’ and presented an extremely reasoned argument with propositions for an alternative thought process. And hopefully he thought many would implement it, if only to help change the status quo.

An artist who has talked openly for many years about the inner conflict he had with Post Modernism and contemporary artist practise, was a painter that I became acquainted with some 23 years ago. He once told me of his own ‘epiphany’ or ‘Weltgeist’ he experienced. He used to call me the ‘Reverend’ when we spoke on the telephone - possibly due to one of two reasons.. ...first my annoying habit of talking in long sentences, or my second my ability to sound wise. I called him Cobber, because he was born in Australia, his real name was Terrence Michael Ffyffe. Terry passed away after a very short illness not so long ago, it something that was a mystery illness, or so I was told. I hadn’t spoken much with Cobber for the last few years of his life. We both had things to do, especially for him as he had married once again, late in life, so he had a bit to catch up on.

The last time we met physically, was in London. We had been speaking about spirituality in Art since 1998 (when we first met at an art exhibition) He was painting realism, of a sorts with work that re-worked some of the classics, ones that he loved so much. But struggled a wee bit to justify the reason for doing them to himself. The one major piece he created was a modern take of that amazing work by Sandro Botticelli, the Birth of Venus, painted 1480. Terry has made more than a fine job of the rework of it.

Terry went on to produce a number paintings in a large format. Much of the work like ‘Plastic Venus’ and many other works of art were taken from mythological Greek epic tales. All of these works were sort of ‘post modernised’ versions of the original. However, these intellectual paintings did not gain him the universal acclaim, or indeed the personal satisfaction, that he thought he may have received from them. As with all painters, the visual success of pulling off such a difficult piece resulted in, what next?

Two works followed, but they never reached the heights of his “Plastic Venus.” We talked about this for months, i.e. what to paint? And in the en

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