My name is Emilia Martin; I am an Art Historian in London, England. I critique many different artists of 2014, preferably who are inspired by different time periods. I become inspired by their pieces of work and try to help the audience become inspired by the artwork just as I was when writing. Ever since I was little, and saw my first piece of artwork done by Vincent Van Gough. I was just in awe as to how much work and thought was put into his work. It takes a unique mind to be an artist; one sees the world different from others. Their mind is matchless… irreplaceable.
For this piece by Ms. Decker I am going back into time to the 1840’s. I found a beautiful artist by the name of Kaitlin Decker. She was inspired by Oliver Twist, by the Great Charles Dickens just as I was. I became impressed with her idea because in the 1840’s this book was a huge sensation. People sat on the streets waiting for the next chapter would come out, just as we wait for episodes of a series to come out each week. The streets filled with excitement that could not be contained. Kaitlin Decker tried to do the same thing with her audience, to get them excited to see her paintings, to see the effort and passion she put in her pieces. Since I was so moved by her breathtaking pieces, I decided to critique and interview her to show her audience what drove her to paint this piece.
Art Interview was taken place along the London Streets outside of a coffee shop in mid September:
Emilia Martin: What inspired you to paint this?
Kaitlin Decker: I wanted it to be a testament to the truth of this time, a truth that many are either apathetic or ignorant towards. The truth that we are all residing, taking up space, but not quite living in a world of complete blackness; the truth that lies underneath the very nose of the upper echelon. It was difficult to capture the feelings that occupy our minds. This painting does it no amount of justice. This truth is to be emphasized as infallible: we are dying here.
Emilia Martin: What medium did you use and why did you choose this over another?
Kaitlin Decker: Watercolor seemed to me to capture the underlying gray nature of the city. The streets and houses are bleak and choppy, rundown and jaded. Panels once held color and nails to hold them in place. They have long since fallen out now, and not a single soul has the time or energy to replace them, let alone the money to buy them. The watercolor apprehended the droopy mood of the streets and the people who occupy them.
Emilia Martin: What is your personal background and how is that shown through all of your work?
Kaitlin Decker: As a child I have always loved the bustle and commotion of the streets. It seemed to me that capturing those moments in a singular point in time would be beautiful. It only happened quite recently when I began to realize I could utilize my works to hopefully creates a message.
Emilia Martin: How do you feel about your piece?
Kaitlin Decker: Like everyone, I am utterly and completely without money or audience. This interview in itself surprised me; people taking interest in what seems more like an obvious communication to me. My art should not be needed to see our plight, yet I am flattered nonetheless.
Emilia Martin: Why art?
Kaitlin Decker: Ignoring for now my penchant described earlier for the artistic process, I believe artworks could very well solve the problem of indifference regarding the cold and bleak card the poorest of us have been dealt. Art, in itself, is something to look at. My other paintings are even weightier than this one. I have tried to involve the seemingly hopeless mess of a mother, driven not by means but by empathy for the child with a dangerous propensity for early death. I have effortlessly tired over cold alleys and thieves trying to stay alive by stealing bread and gruel, perfecting my pictures in order to show people exactly what is happening, in a stilled frame that stay paused for as long as the canvas shall last.
For this piece by Ms. Decker I am going back into time to the 1840’s. I found a beautiful artist by the name of Kaitlin Decker. She was inspired by Oliver Twist, by the Great Charles Dickens just as I was. I became impressed with her idea because in the 1840’s this book was a huge sensation. People sat on the streets waiting for the next chapter would come out, just as we wait for episodes of a series to come out each week. The streets filled with excitement that could not be contained. Kaitlin Decker tried to do the same thing with her audience, to get them excited to see her paintings, to see the effort and passion she put in her pieces. Since I was so moved by her breathtaking pieces, I decided to critique and interview her to show her audience what drove her to paint this piece.
Art Interview was taken place along the London Streets outside of a coffee shop in mid September:
Emilia Martin: What inspired you to paint this?
Kaitlin Decker: I wanted it to be a testament to the truth of this time, a truth that many are either apathetic or ignorant towards. The truth that we are all residing, taking up space, but not quite living in a world of complete blackness; the truth that lies underneath the very nose of the upper echelon. It was difficult to capture the feelings that occupy our minds. This painting does it no amount of justice. This truth is to be emphasized as infallible: we are dying here.
Emilia Martin: What medium did you use and why did you choose this over another?
Kaitlin Decker: Watercolor seemed to me to capture the underlying gray nature of the city. The streets and houses are bleak and choppy, rundown and jaded. Panels once held color and nails to hold them in place. They have long since fallen out now, and not a single soul has the time or energy to replace them, let alone the money to buy them. The watercolor apprehended the droopy mood of the streets and the people who occupy them.
Emilia Martin: What is your personal background and how is that shown through all of your work?
Kaitlin Decker: As a child I have always loved the bustle and commotion of the streets. It seemed to me that capturing those moments in a singular point in time would be beautiful. It only happened quite recently when I began to realize I could utilize my works to hopefully creates a message.
Emilia Martin: How do you feel about your piece?
Kaitlin Decker: Like everyone, I am utterly and completely without money or audience. This interview in itself surprised me; people taking interest in what seems more like an obvious communication to me. My art should not be needed to see our plight, yet I am flattered nonetheless.
Emilia Martin: Why art?
Kaitlin Decker: Ignoring for now my penchant described earlier for the artistic process, I believe artworks could very well solve the problem of indifference regarding the cold and bleak card the poorest of us have been dealt. Art, in itself, is something to look at. My other paintings are even weightier than this one. I have tried to involve the seemingly hopeless mess of a mother, driven not by means but by empathy for the child with a dangerous propensity for early death. I have effortlessly tired over cold alleys and thieves trying to stay alive by stealing bread and gruel, perfecting my pictures in order to show people exactly what is happening, in a stilled frame that stay paused for as long as the canvas shall last.