The Alpha Seer understanding true art

November 29, 2014

THE CALLIGRAPHIC ASPECTS OF ART

Filed under: Uncategorized — MASTER BEN LAU @ 8:41 pm

ART is highly calligraphic by nature. When the Alpha Seer says “art,” he always means true art, or Lineage art. Lineage art is defined as the art that is passed down to the millennia from ancient Egypt and Greece, from Africa and China, and from the greatest European  masters like Titian and Velazquez.  While by calligraphy, we liberally mean the art of handwriting that deals only with the brushwork portion, i.e. the black part of the forms. With ART, it has become profoundly and specifically associated with black and white interactions and relationships. E.g. great Chinese calligraphy involves mainly line- making, with the brushwork snaking through the paper like a dragon, twisting and turning. With ART, not only the black part is being attended to, the white portion is being given equal treatment as well. 

 
I have attached several great pieces (and two lousy works for the purpose of contrasts,) in order to demonstrate this calligraphic aspect of ART.  In Titian’s work (second image), we only need to follow the twists and turns of the entire parade of female nudes to enjoy his fabulous expression in calligraphic beauty.  In Velazquez’ work( unfortunately, for some reason I cannot upload that image here ), all you need is to follow the scarf, the bust of the woman, her face, her headdress, the scarf again, her hands, the fabric she is working on, then further continued with the  tablecloth which goes all the way to to the lower left corner. The small black triangle at the lower right hand corner is of crucial significance, as it not only indicates the track of the black dragon, it also serves as a landmark for the farthest reach of the south east quadrant of the total black.The twists and turns in Knox Martin’s work has become very subtle. His use of tonality is relatively modest, i.e. you won’t see the strong contrasts of black and white in Knox’s work but the interactions of his Yin and Yang is very complex. At first glance one may not be able to determine if he is working with the black and white elements at all,– but make no mistake, this is part of where his greatness lies. The absence of  high contrast in his work is just one of his many wonderful inventions and innovations. With Ben Lau, the twists and turns and contrasts continue to be prominent, very much in tune with his personality. Ben Lau’s twists and turns are smooth and powerful. That by no means suggests that ruggedness is not just as good an expression, –on the contrary, the ruggedness in Titian and Velazquez’ work is as explosive and as wild as fury, and their manners of expression naturally become highly vivid and harmonized! As a function of the black dragon, the white dragon blossoms into life and it dances gracefully, and in-step, with its counterpart.
That calligraphic beauty of both black and white in the masters’ composition has become the immortal beauty of ART. You can easily throw out a centerfold without regret,–those Playboy centerfolds, for example, after you are tired of it, but you won’t ever get tired of the masterful and calligraphic compositions. Their magic lies mainly in the fact that, the more you look, more surprises would be forthcoming. The harmonized composition can also gives you great Fung Shui within the setting of a room as there is no blockage of Qi.
 
The last two compositions are just the shabby efforts of William Blake and Caravaggio  and they are meant to be used as contrast here. Only a fool will sing their praise. So if you do not mind people saying you are stupid, you can always disagree with the obvious. Their calligraphic energies as emitted from their works are highly erratic and confused, as is obvious here in their black and white representations. One can see without question the confusion and the lunacy in William Blake’s form, but with Caravaggio, a more patient examination is in order. The intruding black chalice,for example, represents a serious blockage of Qi by black and it impedes the movement of white in no small way. It is always a tough job to achieve harmony in the construction of a composition. By that I mean to accomplish zero blockage of Qi flow is not always easy. One can spot that flaw even in Picasso’s Guernica, a rectangular window on the upper right of that gigantic painting represents a blockage of Qi, and such a blockage, whether out of simple negligence or otherwise, has necessarily depreciated the beauty of a composition. If one can achieve the task without blockage , –then one is most likely a real artist,– or a great artist even, depending on the quality of its calligraphic movements and the significance of its invention! If the contrary is true, then one may only be called an artist-wannabe. There seems to be no middle ground in that argument: a work is either art or it is not! Guernica may have come with a small flaw because of the window blockage, it is still great art, one of the greatest in the 20th Century! The small flaw has not done significant damage here. If you do have the talent of an artist, creating the harmonized black and white relationships can become an extremely interesting endeavor and to the Alpha Seer, it has become the challenge of a lifetime!eeshaTITIAN  DIANA AND CALLISTO C.1556, 59IMG_0298 (2)IMG_0289 (2)cailin-2 greatest-of-all-times-van-eyckWILLIAM BLAKECARAVAGGIO

November 26, 2014

A MASTERPIECE BY THE ALPHASEER

Filed under: Uncategorized — MASTER BEN LAU @ 5:18 pm

PLACING THE PHOTOS OF THIS BEAUTIFUL ART AT ITS DIFFERENT STAGES SIDE BY SIDE MAY HELP THE LAYMEN BETTER APPRECIATE THE EFFORT PUT INTO ITS CREATION. THE WHITE AREAS HAVE BEEN SELECTED IN OUR EXAMINATION. THEY ARE THEN SUBDIVIDED INTO THE ZONES OF A1, A2, B1, B2, AND B3  ( A1 BEING THE WHITE AREA COMPRISING THE GIRL’S FACE AND SURROUNDING SPACE IN THE FIRST THREE PICTURES, A2 IS THE WHITE AREA THAT COMPRISES THE GIRL’S FACE AND SURROUNDING SPACE IN THE 4TH PICTURE. B1 IS THE WHITE AREA FORMING THE TEAT AND THE BUTT IN THE THIRD PICTURE, B2 BEING THE WHITE AREA FORMING THE TEAT AND THE BUTT IN THE 4TH PICTURE. B3 BEING THE WHITE AREAS FORMING THE TEAT AND THE BUTT IN THE FIRST PICTURE. THE BIGGER PICTURE REPRESENTS THE FINAL FINISHED PRODUCT.) WE MUST ALSO EXAMINE THE THE BLACK ZONES LATER OF COURSE, IN LIKE MANNER. ART MUST BE FULLY EXAMINED AT ITS CORE,–NOT JUST WATERED DOWN WITH OTHER PEOPLE’S OPINIONS. WHO ARE THESE “OTHER PEOPLE”? THEY ARE: ALL OF OUR ART SCHOOL PROFESSORS, ALL OF OUR ART CRITICS, ALL OF OUR  GALLERY OWNERS, ALL OF OUR MUSEUM DIRECTORS, AND ALL OF OUR CURRENT SO-CALLED “ARTISTS.” ALL? YES, BECAUSE ART IS UNDERSTOOD BY SO FEW. TO PUT IT MORE SUCCINCTLY, ART CAN ONLY BE FULLY UNDERSTOOD BY THOSE ENDOWED WITH THE INTUITION FOR THE RECOGNITION FOR CALLIGRAPHIC AND COMPOSITION BEAUTY, IN OTHER WORDS, THE ARTISTIC GENIUSES. IN OUR LIFETIME ART HAS BEEN FULLY UNDERSTOOD BY GORKY, DEKOONING, ELIAS GOLDBERG, KNOX MARTIN, AND BEN LAU, AND THEY CAN BE COUNTED ALL ON ONE HAND. IN AN EARLIER TIME, ART WAS FULLY UNDERSTOOD BY INGRES, CEZANNE, MATISSE, PICASSO, SEURAT, JUAN GRIS AND DEGAS. THAT NUMBER IS A LITTLE BETTER BUT STILL VERY, VERY SMALL!

AS SHOWN IN THE FOLLOWING PICTURES, A2 IS OBVIOUSLY SUPERIOR TO A1 BECAUSE A2 IS MORE SMOOTH AND MUCH MORE ELOQUENT THAN A1, AND AS A RESULT, A2 SHOULD BE CONSIDERED STRONGER AND MORE COMPACT.

BY BRINGING B1, B2 AND B3 TOGETHER, IT CAN BE IMMEDIATELY OBVIOUS THAT B3 HAS BEEN MISERABLY BLOCKED BY A TRIANGULAR BLACK FORM RIGHT IN ITS MIDDLE. AND THAT STOPS B3 FROM RUNNING SMOOTHLY, SO TO SPEAK, OR CONVERSING FREELY WITH THE TOTAL BLACK FORM, WHICH IS SUPPOSED TO TWIST AND TURN THROUGH SPACE LIKE A BLACK DRAGON. ( RECALL THE GREAT CALLIGRAPHY BY WANG HSI CHIH AND YOU WOULD KNOW WHAT I MEAN. THEN FINALLY, I HAVE DETERMINED THAT THE MIRROR IN FRONT OF THE GIRL CAN GO BETTER WITH THE REST OF THE COMPOSITION IF CHANGED FROM A RECTANGULAR SHAPE TO AN OVAL ONE. THEREAFTER, THE FLOW OF THE TOTAL BLACK IN THE FINAL PRODUCT, WHEN TAKEN AT A GLANCE, WON’T APPEAR AWKWARD LIKE ITS PREDECESSORS, I.E. THE FIRST THREE PICTURES, BUT RATHER, WAY MORE SMOOTH AND FIRED UP LIKE A ROARING RIVER. IF YOU RECALL THE GREAT CALLIGRAPHIC MOVEMENT OF WANG HSI CHIH, YOU WOULD AGREE THAT IT IS THE RIGHT MOVE TO MAKE. IN NONE OF THOSE CHANGES HAVE THERE BEEN ANY CONJECTURE INVOLVED. THE INCREASE OF THE COMPOSITION’S STRENGTH AND VITALITY OVERALL IS JUST TOO OBVIOUS TO DISMISS, EVEN TO A KID.

NOW THE RULE OF LINEAGE ART APPLIES: WHATEVER THE BLACK IS DOING, THE WHITE IS BOUND TO FOLLOW SUIT, AS WHITE IS A FUNCTION OF BLACK, AND VICE VERSA. IN OTHER WORDS, IF BLACK TWISTS AND TURNS LIKE A RIVER, OR A DRAGON, ITS WHITE COUNTERPART TENDS TO DO LIKEWISE. THIS IS NOT JUST AN ARBITRARY RULE BUT AN INVIOLABLE LAW OF YIN AND YANG. BLACK AND WHITE ARE COMPLEMENT TO EACH OTHER! IT TAKES TWO TO TANGO, LIKE THEY SAY! UNFORTUNATELY, THIS HAS COME TO BE THE HARDEST PART FOR THE LAYMAN TO UNDERSTAND. IF YOU CAN ACHIEVE THIS ALMOST IMPOSSIBLE TASK,–MAKE NO MISTAKE, THE GREAT MASTER KNOX MARTIN WILL NOT FAIL TO RECOGNIZE YOU AS A GREAT ARTIST!

IMG_0294 (2)IMG_0293 (2)IMG_0297 (2)IMG_0298 (2)

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THE GREAT MASTER KNOX MARTIN HAS SPOKEN:

Knox

Nov 20 (6 days ago)
to me

BEN ///////////////// STUNNING  1111111111111111111111111111111111!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!   LOOK AT HOW ENTHUSIASTIC KNOX MARTIN IS ABOUT THIS PAINTING. AT AN ADVANCED AGE OF 92, KNOX MARTIN WON’T SAY ANYTHING ABOUT ANYONE’S WORK UNLESS IT IS TRULY BEAUTIFUL, AND A MASTERPIECE ! IN THE EXCLUSIVE CLUB OF ARTISTIC GENIUSES, WITH TITIAN AND VAN EYCK INCLUDED, KNOX MARTIN HAS NO PEER KNOX MARTIN’S WEBSITE : WWW.KNOXMARTIN.COM

GREAT COMPOSITION VERSUS LOUSY COMPOSITION

Filed under: Uncategorized — MASTER BEN LAU @ 12:15 am

WILLIAM BLAKEtitians-geometryknox-martins-geometryfrans-hals-shrovetide-revellersimgp021223818269Egyptian paintingGreek AmphoraTang Dynasty masterpiece calligraphyknox-donations-bw-vs-european-masters006africa-series-889greatest-of-all-times-van-eycksatyr-and-nymph-series-1157cat-catching-a-birdwoman-with-red-shoes-ii

AWESOME WOMAN SMILING BY THE GREAT MASTER KNOX MARTIN

AWESOME WOMAN SMILING BY THE GREAT MASTER KNOX MARTIN

September 13 ·
TODAY THE ALPHA SEER WILL DISCUSS HOW TO APPRECIATE THE GREAT MASTERS IN HISTORY WITHOUT HAVING TO PARROT SOME SO-CALLED ART TEACHERS, ART CRITICS, OR MUSEUM DIRECTORS. ONCE AGAIN, ANY LEARNING HAS TO START WITH YOU, EVEN THOUGH THE INFORMATION MAY HAVE COME FROM ME. YOU MAY BEGIN BY GIVING YOURSELVES A CHECK-UP FOR THE FOLLOWINGS:
1. HAVE I KEPT MY EGO OUT OF THE WAY IN ORDER TO LEARN LIKE A CHILD,–AM I MALLEABLE AND VULNERABLE AT THE MOMENT OF LEARNING? AM I GENUINELY HUMBLE, AND HAVE I RECOGNIZED THAT THERE ARE STILL A THOUSAND THINGS IN THE WORLD THAT I KNOW NOTHING ABOUT?
2. AM I READY TO RECOGNIZE MY OWN POTENTIAL AND EMBRACE MY INTUITION AS MY BEST TEACHER?
3. AM I CONFIDENT ENOUGH TO EMBRACE MY OWN CREATIVITY, AND FINALLY,
4. AM I VIGILANT ENOUGH TO COMPARE NOTES, VIEWING CRITICALLY ONE COMPOSITION AGAINST THE NEXT?

EXAMINATION OF ART THROUGH VISUAL COMPARISON IS ALWAYS VITAL. SUCH EXAMINATION SHOULD INVOLVE THE FOLLOWING AREAS: THE STRENGTH OF LINES, THE STRENGTH OF FORMS, FLATNESS, BALANCE, RELATIONSHIP, GEOMETRY, COMPACTNESS, INVENTIONS (NOT GIMMICKS), BLACK AND WHITE.
IT IS TRUE THAT WE CAN ALL PRODUCE A LOVELY AUTOGRAPH. WHAT KINDS OF INGREDIENTS ARE THERE IN A QUALITY SIGNATURE, OR CALLIGRAPHY? IS THAT NOT A QUESTION YOU OFTEN PONDER? JUST AS OFTEN YOU ALMOST ALWAYS COME UP WITH AN ANSWER INTUITIVELY WITHOUT HAVING TO CONSULT ANYONE ELSE! SO THAT IS THE RESOURCE IN YOU THAT I NOW ASK OF YOU TO RELY ON. WHEN YOU ARE PARROTING THE OPINIONS OF OTHERS, YOU ARE NO LONGER BEING YOURSELF. IS THAT NOT TRUE? WHEN YOU FOLLOW THE TREND DRIVEN ON BY HERD INSTINCT AND A COWARDLY, OBEISANCE TO THE RULE BY MAJORITY, YOU ARE NO LONGER A FREE BEING GENUINELY EXERCISING FREE WILL, BUT A PITIABLE PUPPET, A GHOSTLY AUTOMATON IN THE VAST ANONYMOUS CROWD!
TO EXPAND THE ORIGINAL QUESTION FURTHER, YOU MAY NOW ASK WHAT KIND OF INGREDIENTS ARE THERE
IN AN EXCELLENT PIECE OF HANDWRITING. I HAVE A FEELING THAT SOMEHOW, YOU MAY ALREADY HAVE KNOWN THOSE CRITERIA, AND IT SEEMS REDUNDANT FOR ME TO REPEAT THEM. HOW DO THOSE CRITERIA GET INSIDE YOUR HEAD IS  ALWAYS A MYSTERY. FOR SIMPLICITY’S SAKE, JUST CALL IT A NATURAL GIFT, AND ACKNOWLEDGE IT AS AN INBORN ABILITY IN THE HUMAN BRAIN! THE ABILITY TO APPRECIATE CALLIGRAPHIC BEAUTY, GOOD TASTE FOR SHORT, IS UNIVERSAL IN THE HUMAN RACE. I AM QUITE SURE THAT THE CHIMPANZEES DO NOT HAVE THAT ABILITY, THAT SENSE OF BEAUTY. NEITHER WOULD IT RESIDE IN THE MIND OF A MENTALLY CHALLENGED PERSON. WHY? BECAUSE THEIR MENTAL ENERGIES ARE QUITE CHAOTIC IN THE FIRST PLACE.

THE NEXT STEP IS TO IMAGINE YOURSELF BEING TITIAN OR VELAZQUEZ, FOR THE PRESENT MOMENT. WHAT? YOU CAN’T DO THAT? THAT IS UNBELIEVABLE ! INDEED YOU CAN!!! JUST SUMMON UP ENOUGH CONFIDENCE FOR IT. NOW IMAGINE YOU ARE TAKING UP A BRUSH AND DECIDE TO PAINT SOMETHING THAT WILL, APART FROM ACHIEVING PERSONAL FAME, ALSO ACHIEVE GREATNESS AND IMMORTALITY,– SOMETHING THAT WILL GO INTO THE POSTERITY AND TO LAST AS LONG AS CIVILIZATION ITSELF. IF THAT IS MY AIM THEN SOME SERIOUS CHECK-UPS ARE IN ORDER. WOULD THAT BE COLOR? NO! WOULD THAT BE THE ASSOCIATING NARRATIVES? NO!  GIMMICKS?  NO! WOULD THAT BE THE INFLUENCE OF PHILOSOPHY? OR PERHAPS THE INFLUENCE OF RELIGION OR BELIEF?  A MESSAGE TO YOUNG PEOPLE? THE MEANING OR PURPOSE OF LIFE? NONE OF THE ABOVE REALLY COUNTS, YOU SAY. NONE OF THOSE ABOVE  CAN  REALLY MAKE A WORK OF ART IMMORTAL!

WHAT WILL TRULY MAKE THIS THING  GORGEOUS IS THE EVERLASTING QUESTION! ONCE WE HAVE FIGURED THAT OUT, WE CAN FIND THE FOUNDATION OF ART, AND GIVE CLARITY TO IT.
IN NONE OF THE AFORESAID HAVE WE FOUND ANYTHING REALLY MATTER, SINCE THEY ARE SO TRANSIENT,  TOO WORLDLY, AND SO SUBJECT TO THE CHANGE OF TIMES AND TIDES.! SO IN CONCLUSION, DENYING ALL OF THE ABOVE MAY BRING HOME THE CORE VALUES OF REAL ART. AND THE MERITS IN A WORK OF ART WILL THEN BE SUBJECT TO THAT SET OF VALUES.

LOOK, WHAT REALLY MATTERS IS THIS GREAT ABILITY WITHIN ME, THIS COURAGE, AND THIS CONFIDENCE.AND THIS LOVE, AND TOGETHER THEY DEVELOP INTO A BURNING PASSION IN ME TO CREATE, THAT IS WHAT HAS ENABLED ME TO DO FINE CALLIGRAPHY, OR PRODUCE PERFECT YIN AND YANG RELATIONS, AND THAT WILL CULMINATES IN THE PRODUCTION OF A GREAT VISUAL METAPHOR! A FINE COMPOSITION OF FORMS IS REALLY WHAT COUNTS IN GREAT ART, THEREFORE THE CORE VALUES IN ART OUT OF A DENIAL ALL OF THE ABOVE SHOULD RALLY AROUND THIS COMPOSITION OF VISUAL METAPHORS, A COUSIN TO POETIC METAPHOR, ALSO THE METAPHOR OF SOUND. THE BEAUTY OF FORM IS WHAT REALLY COUNTS, AND EVENTUALLY PROPEL THIS THING INTO GREATNESS AND IMMORTALITY!  A PERFECT COMPOSITION HAS THEREFORE BECOME THE  BEAUTY THAT ALLOWS THIS ART TO PASS THE TEST OF TIME!
NOW IMAGINE YOU ARE TITIAN. YOU WILL THEN THINK: WITH ALL MY GENIUS, MY PASSION, MY ENTHUSIASM AND MY PERCEPTION, LET ME GET TO WORK AND SUMMON UP HEAVENS AND HELL IN THE CREATION OF THE PERFECT METAPHOR ON THE SCALE OF A POWERFUL DESIGN, WHEREBY HUMANITY MAY SING MY NAME FOREVER FROM THIS MOMENT ONWARD.
REMEMBER: YOU ARE  TITIAN, AND THERE IS NOTHING YOU CANNOT DO THERE! YES, THINK TITIAN OR SHAKESPEARE, OR MOZART, IF YOU WOULD.
NOW YOU ARE NOT JUST A SIDEKICK; YOU ARE REALLY TAKING RESPONSIBILITY IN YOUR HAND, AND WITH THAT YOU REVEAL WHAT YOU HAVE BEEN ENDOWED WITH, YOU ARE  NOW FORGING THAT UNSEEN, UNKNOWN, UN-NAMED ENERGY INTO POETIC OR VISUAL REALITY. YOU HAVE YOURSELF WORKED UP TO A FRENZY BY VIRTUE OF A DEEP CONVICTION IN YOUR OWN INTUITION! YOUR FURY WILL BLOW THE TOP OF ANY MOUNTAIN! HEAVEN AND HELL WILL THUNDER INTO THE CONSCIOUSNESS OF MANKIND,–SIMPLY BECAUSE YOU ARE  A GREAT MASTER AND YOU ARE TITIAN!

WE CAN ALL BE TITIAN ON A SMALLER SCALE, BECAUSE WE CAN ALL PRODUCE LOVELY AUTOGRAPHS. AN AUTOGRAPH IS, AFTER ALL,THE SPECIFIC WAY IN WHICH WE SCRIBBLE OUR OWN NAMES, AND SINCE THAT PARTICULAR HANDWRITING REPRESENTS OUR PERSONA AND  IT WILL GIVE AWAY THE  TRAITS OF OUR CHARACTER, LEANINGS, AND THE NATURE OF OUR INDIVIDUALITY. WE DECREE THE SCRIBBLING TO BE BEAUTIFUL, POWERFUL, FULL OF CHARM, AND DEFINITELY CREATIVE. WE DECREE THAT, LIKE A GENUINE MASTER. OFTENTIMES WE EVEN CONSCIENTIOUSLY PRACTICE OUR HANDWRITING TO THAT END.
NOW LOOK AT THE ABOVE ATTACHMENTS, EXAMINE EVERY ONE OF THE  ABOVE COMPOSITION PATIENTLY, AND ASK THIS OF THE ALL POWERFUL TITIAN WITHIN YOU: WOULD YOU LIKE TO WRITE YOUR AUTOGRAPH IN SUCH A MANNER THAT WILL REFLECT  THE  SECOND ARTIST?  THE ANSWER IS A THUNDERING, UNEQUIVOCAL YES!!!! WHY? OF COURSE IT IS A PAINTING BY TITIAN HIMSELF! WHAT ABOUT HAVING YOUR AUTOGRAPH TO REFLECT THE THIRD ART? IT WAS  A PAINTING CREATED BY AN ARTIST CALLED RUBENS, ANOTHER GREAT MASTER? AGAIN, A THUNDERING, PERFECT YES! WHAT ABOUT THE FIRST ONE?,–CREATED BY SOMEONE CALLED WILLIAM BLAKE ? AT THIS POINT, YOU FIND YOURSELF HESITATING, THEN WITH GREAT DISGUST YOU ARE ASKING THIS: WHAT? TO HAVE MY AUTOGRAPH LOOKING LIKE A PERFECT MAD MAN AND HALF-WIT? YOU’VE GOT TO BE KIDDING!!!! NOW IN ONE STROKE WE HAVE PROVED THAT THE ANSWER LIES IN THE COMPOSITION OF ANY VISUAL EFFORT, AND NOTHING ELSE!
I AM PRETTY SURE THAT SOME, IF NOT ALL OF YOU HAVE ALREADY FELT A CERTAIN NAUSEA AND HORROR STARING INTO THE AWFUL STUFF PRODUCED BY THE FIRST PERSON. IF YOU CAN SENSE A CERTAIN IDIOTIC ENERGY FLOWING FROM WITHIN THE FIRST PAINTING,– WHY? CONGRATULATIONS: YOU HAVE PASSED OUR TEST, — THE TEST INDICATES THAT YOU ARE TRULY HUMAN. AND THAT IS HOW THE WORD HUMANITY HAS BEEN CONFERRED UPON US.

 

TRUE ENOUGH, WITH THE EXCEPTION OF THE FIRST COMPOSITION, ALL OF THE  ABOVE  ARE GREAT COMPOSITIONS, THEY ARE ALL MASTERPIECES!!!!  AND THAT AWFUL COMPOSITION WAS BY WILLIAM BLAKE.

DON’T BE A SECOND-HAND INDIVIDUAL PARROTING WHAT THE ART TEACHERS SAY, WHAT THE ART CRITICS SAY OR WHAT THE MUSEUM DIRECTORS SAY…. ALWAYS TAKE YOUR CUE FROM THE ARTISTIC GENIUS WITHIN YOU YOURSELF!!!

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