Manifesto
From the enigmatic, self-conscious, preliterate origins of art, in primal prehistory, to remote New Guinea, subsistence societies and their facture, to the vast technological 'wunderkind' of the Twentieth Century's Modernist edifice, all civilization's art, is both synchronous, and an historic phenomena.
Contemporary artefacts are not the works of punctured equilibrium, as dreams of aspirations, but the protracted ontological exertion of causal relation and revelation.
To reject the powerful claims of precedent, is to deny the originary, the tribal, the religious, the utilitarian and the celebratory.
Contemporary outcomes are distinguished by their relative current intellectual accessibility, but we can't interrogate the tribal mind, and ascertain primal incentives and compulsions.
Any artist, can verify through their own gestures, (positions and work) their indisputable deference, to the civilizing aspects of the monolith that preceded us, and the common affinity with all artistic endeavour.
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