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SOURCES of Creative Artistic Invention

SOURCES of Creative Artistic Invention

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Published by Paul Henrickson

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Published by: Paul Henrickson on Jun 27, 2013
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SOURCES of creative artistic invention.LUIS JIMENEZPaul Henrickson, Ph.D.
tm.© 2013
 Even after many decades of very serious and profoundly thoughtful search I remain bewildered,mystified and in awed respect of the sources of creative behaviour. I am still trying but the quarry is
a will o’ the wisp most especially when it comes to the work above which possesses a rather tenuous
contact with reality, that is, perceptible sensual reality like sky, earth, planets and the spacebetween the observer and the pictorial subject. It should be remembered, however, that that spaceis a very special space that has its beginning not with the person doing the looking, but on thesurface of the paper and there is a major synapse between that surface and the interpretive mentaloperations which take place only in the mind of the observer.Luis Jimenez, on the other hand, consistently offers strong imagery which attracts the mind to theconcept of the heroic which he achieves with informed draughtsmanship and the editorial talents of a master story teller. Even the nature of his own bleeding death beneath a large commissioned work(The Blue Mustang) which had accidently fallen , or, perhaps, so infusedwith his spirit of power, given the animal by the sculptor himself, had
him as often, it issaid,
(the artist’s spirit in addition to that transmitted by the artist to the image)
those possessed by demonicspirits become the victims of those spirits. It seems a strange and perilous world we travel.In a more
general sense it is quite nearly a truism that “artists express their feelings” and such
aphorisms becomes very nearly meaningless in the verbal expressions of those too intimidated bythe challenge to create more appropriate verbal expressions. That is difficult, but essential.I have attempted to outline a potential creative spirit in a few artists such as Michael-Angelo daCaravaggio, Paul Cezanne, John Marin, Albert Pinkham Ryder, Doris Cross, Louise Nevelsen, andChuzo Tamotzu as though what they did was, in some way, an exposition of their most psychicneeds. Jean Piaget had identified a similar motivation in the verbalizations of children in their sand-box play as they retold. explained, or re-arranged puzzling events in their lives
And Jimenez is seen apparently giving someone, or some thingthe flip.......certainly a gesture many of us have given, or felt like giving when ambient eventsseemed too much to bare. We may have a man here who is basically angry and his work seemscharacterized by a collegiate of associated responses, danger, destruction, living on the edge and thewilling self sacrifice to anot
her’s passionate hunger entitled
western Pieta” the other side
, itmight be said, of the Christian coin.It is at this point one might ask whether if there are no problems being explored consciously or pre-
consciously on a subliminal level in an artist’s work will it be possible to affirm that the artist whose
work may be admirable in all pertinent formal considerations is basically devoid of creativity?My first encounter with the work of Luis Jimenez was when, I believe, Geraldine Price had organized
an exhibition of his work for Hill’s Gallery which was located on the plaza. The following is a draft of 
what I had written as a review and which had been published by the Santa Fe New Mexican,
“Although the New Mexican WatercolorExhibition which had been hanging in the second floor floor 
 gallery of The Fine Arts Museum has some very fine and some not so fine paintings with a very widevariety of technical and aesthetic approaches it fails to hold an electric candle to the jazzy exhibitionof the fibreglass and epoxy sculpture of Luis Jim
enez at Hill‘s Gallery.
 This exhibition has spilled out on to a truck parked in front of San Francisco Street. What the truck held was a very large
(did I hear 100 
commission intended for David Anderson at Roswell.Even I had been misinformed about the dimensions of the piece, the impression I would have taken from the rest of his work would have carried over to that one and I would have had to have seen it bigger than life...no matter what!.This is one of the effects these giant, glitzy, glittery, smashingly colored, immense midway prises produce.
If any reader recalls the Cyrus Dallin work, with its tender Hiawatha romanticism thy might multiplythe effect by a 100 , make the horse white and provide a pair of vermillion collared glow balls foreyes and the point may be understood

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