Imagined Exhibitions 2015-2017 Indoor and Outdoor Paintings and Sculpture Paris, London, New York and Hobart Tasmania


Outdoor Sculpture (click for more)

International Exhibition of Art for the Public 2014-2015

Nura's abstract paintings as seen in public locations in London, Paris & New York

Introduction by the Artist

My personal conviction is that art should be easily accessible and present in our daily lives, during our daily activity: riding the subway, waiting for a bus or standing in a supermarket line. There should be no officially designated place for art only, divorced or separated from our everyday lives. We should be surrounded with it for free.

Art lives through perception and active mental and emotional engagement. It is criminal to have it locked up in a cage, imprisoned in a museum where people are discouraged from looking at it because of expensive entrance fees and hard to visit locations, remote from where they live and apart from the direction of their daily travels. The spirit of invention and discovery practised by working artists is violated by the elitist situation established and nurtured by art marketeers promoters, providers and guardians of commodified product oriented “art”.

This situation is being remedied by initiatives such as the Creative Commons which encourages and facilitates the electronic sharing of artworks and other visual and written materials.

What follows is a series of rectalinear abstract paintings. These demonstrate how a small systemic change affects the overall context in which it occurs. The dynamic of these paintings (originally on paper 22x32”) is contingent on their color changes. Suddenly, a previously reticent, shy part of the canvass is alive and activated. All spacial relationships are changed by an altered color area. While a structural configuration of shapes stays in place. These juxtapositions can be interpreted in a wide range of ways. Do shapes approach each other—aggresively or gently with confidence or tentatively—which is more charming—which is more revolting etc?

The proximity of abstract art to us, its nearness and availability, its invitation to be familiar, to converse and engage is how visual language is learned, transmitted and expanded. Public acess enhances this process. If we surrender the realm of visual language to advertisers we are left only with short, terse phrases—slogans: buy me, eat me, wear me. Our language is thus lost to commerce.

Reclaiming visual territory for art

The commons is invaded by screams and shouts of vendors who reduce language to grunts and screams. For example, the harsh whistles and boring repititions of buy me, wear me, eat me replace the melodious cadences of Bach and Miles Davis. Visual Information: its slow and quiet space and time is violated by the flipant, harsh assualt on our sensibilities. The purpose of commercial language is to prevent thought and encourage irrational impulse, to demand and compel rather than to persuade. Isn't it better to encourage the pleasure of contemplation and appreciation of process? Perhaps clues and cues, strategically placed, in a visual environment, so that they can be found and distributed. People can then decide for themselves the value of a moment, the essence of transformative experience, the pleasure of discovery and the importance of exercising our human prerogatives of choice about objects and non-objects other than soap and corn flakes.

My plea is for free art and is a manifesto of sorts. Confiscated and locked up art versus the joy of sharing visual experience in the commons. Let's paint moustaches everywhere. Give me back my Kandinsky. Where are you hiding him? I want my Botticelli, my Masccio. I weep for my lost Leonardo and Giotto. Why have you taken them from us? When will I see them and love them again. Gorky and Miro. Modigliani and Soutine. Picasso and Matisse. Bonnard, Turner. Agnes Martin and Georgia O'Keeffe. Come back sweet moments of joy and understanding, set my paintings free.

Outdoor Painting (click for more)

Indoor Paintings(click for more)

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