Despite such rough, utterly profane surfaces, it is
a spiritual tradition of abstraction that Martin's work draws from: Native American folklore, religious mysticism, anthroposophist symbolism, the landscape painting of North American romanticism — and the great melting pot of New York City itself, where Martin has lived since 1975.
Not exact matches
@ lionlylamb: per rightly dividing the word... the video below is what Paul was talking about (focusing on Christ), not philosophical
abstractions... «See to it that no one takes you captive through hollow and deceptive philosophy, which depends on human
tradition and the elemental
spiritual forces
of this world rather than on Christ.»
Over the years, through a series
of decisive shifts in medium and intent, he turned to painting and drawing, embracing the phenomenological and
spiritual legacy
of abstraction as a transcendental, rather than purely formal,
tradition.
Despite the crude, thoroughly mundane picture surfaces, Martin's work has drawn for over 30 years on various
traditions of spiritual abstraction, for which New York, where Martin has been living since 1975, was the melting pot.
For more than thirty years now and despite the crude, thoroughly secular appearance
of the images» surfaces, Martin's work has been tapping into various different
traditions of spiritual abstraction, for which New York, where Martin has been living since 1975, has been the proverbial melting pot.
It enriches the abstract
tradition in Western art with fresh political and
spiritual content, and deepens our understanding
of the background
of major trends in recent African American art, from the material - loving, politically conscious
abstractions of Mark Bradford to the politically and spiritually charged sculptures
of Betye Saar and Vanessa German.