Style1½ inches thick (3.75 cm) Product Details Artist grade canvas, archival inks, wooden stretcher bars, and UVB protective coating
AvailablityUsually ships within five business days. ArtistW John Morris Platinum Member CollectionAbstract
Description 1But Jesus went to the Mount of Olives. 2At dawn he appeared again in the temple courts, where all the people gathered around him, and he sat down to teach them. 3The teachers of the law and the Pharisees brought in a woman caught in adultery. They made her stand before the group 4and said to Jesus, 'Teacher, this woman was caught in the act of adultery. 5In the Law Moses commanded us to stone such women. Now what do you say?' 6They were using this question as a trap, in order to have a basis for accusing him. But Jesus bent down and started to write on the ground with his finger. 7When they kept on questioning him, he straightened up and said to them, 'If any one of you is without sin, let him be the first to throw a stone at her.' 8Again he stooped down and wrote on the ground. 9At this, those who heard began to go away one at a time, the older ones first, until only Jesus was left, with the woman still standing there. 10Jesus straightened up and asked her, 'Woman, where are they? Has no one condemned you?' 11'No one, sir,' she said. 'Then neither do I condemn you,' Jesus declared. 'Go now and leave your life of sin.'
W John Morris, Spokane Member Since January 2009 Artist Statement "to every age its art and to art its freedom"
As I explore this new digital manipulation medium, you need to decide for yourself what art is. My work is what it is and I make no excuses for the base of inspiration used. The art is synergistic and becomes my own through the process.
I am a self-styled “fractal conceptual artist”. In conceptual art the idea or concept is the imperative aspect of the work. When I as an artist use a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes an instrument that makes the art.
I also consider myself a modified Secessionist. Unlike other movements, there is not one style that unites the work of all artists who were part of the Vienna Secession. The Secession building could be considered the icon of the movement. Above its entrance was carved the phrase "to every age its art and to art its freedom". Secession artists were concerned, above all else, with exploring the possibilities of art outside the confines of academic tradition. They hoped to create a new style that owed nothing to historical influence. In this way they were very much in keeping with the iconoclastic spirit of turn-of-the-century Vienna (the time and place that also saw the publication of Freud's first writings).
Adding fractal to conceptual includes the progression of developing an irregular or fragmented geometric shape that can be repeatedly subdivided into parts, each of which is a smaller copy of the whole. I create art by calculating fractal objects and representing the calculation results as still images by indirectly with the assistance of fractal generating software, iterating through three phases: setting parameters of appropriate fractal dimensions, executing the result and evaluating the creation. Then using realistic application to further adjust and post-process the conceptual imagery created.
I use a variety of mediums available using fractal conceptuality. Usually my focus is on matters of faith and belief systems. My art can be purely virtually created (such as algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics, using a graphics tablet. My job as an artist is to create a product that will illicit a passion. As I explore this new digital manipulation medium, I do not place constraints on the process and there are no rules. Then I manipulate it and add mixed media. This is the process. I love the process and the creation of an outcome.