Terry WardArtist

New York, United States
Strive for paint surfaces unlike those of other artists --even if just in subtle ways. Art is unfinished until visually it says something new. Wall-sized art should still satisfy up-close. Intrigue from a distance but also reward those who approach and scrutinize. Resist conventional ideas of up and down. Tilt. Whirl. Invert. Be topless and bottomless (ahem --spatially). Create themed groups, but design for each single piece to be able to stand alone --or within new groups. Embrace unplanned collaboration: let others (viewers, curators, owners) intermix and rearrange groups and change pieces' orientation if they care and dare. Let any single piece be shown or sold alone --or combined with others. Don't "cherish" collage-objects: rip, burn, alter. Older art may mix with new art to make whole new statements --whether being said by the artist, the gallerist, or the patrons. Allow the "sacred object" and "artist alone can speak it" concepts to be dissolved --if anyone has courage to try.

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MashUps Encouraged

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Most Ward art after 2007 is made in series-groups of same-sized panels. Usually there are four similar panels --sometimes just two, sometimes up to twelve. Ward considers each panel to be a unique piece capable of being hung (and sold) on its own. Also, it may be combined by curators or patrons with other Ward panels from different series. The mixes and art "mash-ups" generate new possibilities. Allowing such third-party modification of the art allows a bit of so-called "Relational Aesthetics" creeping into flat paintings; Ward embraces the potential for buyers, exhibitors, and perhaps even visitors to modify, distract-from, rearrange, or perhaps amplify whatever meanings or messages the art originally might have had. The modular-mashup mixability of Ward's art seems to be new to painting. (In theory, all Ward art could mix in a 500-foot uberMashUp.) see also: http://grumpyvisualartist.blogspot.com/2011/10/art-info-finally-something-new-in.htm

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