June-01-2013 by Tania Dibbs
Shortly after composing my last artist statement, I came upon this podcast while listening to old episodes of my favorite audio show, Radiolab. The show fascinated and stunned me, because it so very much provided a clear and timely example of the very complex relationship I have been exploring between humanity, earth, intention, and consequences. As I listened to it in my studio I actually got goose bumps on my arms. If you take a few minutes to hear the segment you will have a clear understanding of my current 2013 work. Read more
May-19-2013 by Tania Dibbs
A couple of weeks ago we returned from a trip to South America with the Aspen Art Museum. Sixteen people and Heidi Zuckerman Jacobson, the director of the AAM, went to private collections, artist studios, museums and galleries. Here are some of the things that surprised me.
March-31-2013 by Tania Dibbs
Our relationship to the world we live in has changed exponentially and rapidly. Nature, once bigger than humanity, is now a tool, a resource, an infected organism and a fragmented system. Buy it, sell it, use it. We alter genetic codes, shape the climate, patent genes, change the course of evolution and create artificial life. We wipe out entire species and ecosystems and turn the ramifications into political arguments. Basically, we shit where we eat. The idea of “nature” as a broad, controlling and creative force in the universe seems quaint and secondary. To contemplate nature in this era is to examine its qualities and possibilities: its patterns and symmetry, its randomness, fragility, and interconnectedness, its unavoidability, its potential. Read more
February-27-2013 by Tania Dibbs
I have been searching, groping, questioning, and it doesn’t feel good. Growth never feels great.
January-19-2013 by Tania Dibbs
I can’t tell you how many times people tell me, “I LOVE your old work!” Sometimes I wish I still loved doing what I used to do, but I don’t, and here is why. Read more
December-30-2012 by Tania Dibbs
Whatever your endeavor, it is important to expose yourself to critique, and equally important to learn how to handle it. Learning to be critiqued and not feel stung is a very powerful tool that can be honed with practice. Practice can slowly trickle in over the course of a career (I could wallpaper a whole house with the rejection letters I have received) or you can actively seek it out to speed up your learning process. Read more
December-17-2012 by Tania Dibbs
What is the death of a good piece of art in the making? Loving it too much. Once you start to become attached to the outcome of the work you are in the process of creating you run the risk of becoming too careful to work with freshness and spontaneity. If you are thinking, “This thing is great! I don’t want to make the wrong move and mess it up now!” then you are doomed. Mess it up and get on with it already. Edith Wharton, the American writer, said, “Art is freedom of the spirit.” There is no freedom in worrying about how well you are performing. Read more
December-01-2012 by Tania Dibbs
Newspapers are dead but there is still a need for news. Likewise in art the era of the traditional artist gallery relationship seems to be evolving.
November-25-2012 by Tania Dibbs
Don’t rush. Be with a certain style of something and don’t look at it and say, “Boring, I have done that brushstroke so often that I want to change it.” Instead, stop trying to say anything at all with the art…… Just do it and just be with that brushstroke or technique and wait for it to evolve if it does. Some desire in the back of the mind is enough impetus for the art to move forward. Thinking is just an added force that supports artistic schizophrenia. I guess this boils down to having faith in the process and one’s ability. Once in awhile you can really feel the truth of the fact that it is just art and there is no right and no wrong and that is inspiring!
November-20-2012 by Tania Dibbs
When you speak in front of an audience and you are concerned about how you come off, you often end up hearing yourself speak instead of thinking wholly about what you are saying. The same thing can happen in painting. Painting well means not hearing yourself speak. Painting extemporaneously.
How do you do this? Read more