The Living Art
“I’m not trying to copy Nature. I’m trying to find the principles she’s using,” said R. Buckminster Fuller, trying to show us how art can be simple to appreciate.
Before the 1990s, many artists either sided with capitalism or communism. These two ideologies have been blurring human potential, capabilities and opportunities, defining what art means to human beings.
Sea Scape (2013)
by Abraham Mehari
Even today, writers, painters and film makers are trying to represent the world as it is according to ideologies, instead of acknowledging past and present potential.
As I see it, artists ought to keep the stages of development aside and not tell people what was left behind. They must not relapse. Actually, their commitment should be focused on the way Nature contributes to define strategies that lead to peace and education.
Untitled (2013)
by Aku Asefaw
Art scholarships are not about “canaries in the mines”.
In this changing world, it is promising to become a holistic song to sing, to find a right direction, be genuine, thus enriching everyone and cherishing love.
Beauty of Eritrea (2013)
by Yonas Kibrom
Light of Victory (2013) by Alexander Bursh
In this globalized world, art brings us to light. Art never lies, nor does it conceal the artist’s skills and the need for monetary resources. Although artists today glow brightly because of the glory of past artists, they should beware not to repeat what has been. I may be wrong but many artists initiate their artistic life when having to face challenges. To tackle these challenges, their behavior changes when having to tackle the challenges. When they change behavior, they should not go against their own identity.
Sky Face (2013)
by Almaz Tewelde
As our world is better known, artistic tastes flow out like a wave rolling over the surface of the sea. Global ideas are shared like radiating sun from the artists’ mind, as fast as rays that meet other minds. New waves return to the artists, generating further thoughts, emanations of the unhidden.
Untitled (2013) by Bibiket Tekesfe
Eritrean artists can be regarded as icons of freedom. Throughout history, artists have been icons of freedom. Historically and ancestrally speaking, Eritrean artistic traditions have witnessed a glorious foundation from Adulis and Belewkelew civilization, where literature is thought to originate. This ancient glory helps to show how Eritrean waves of free minds can influence our regional way of thinking. Because of these artistic talents, Eritrea has been facing tremendous, yet interesting challenges which reflect a new wave in response to atrocities.
The Girl and the Snake (2013)
by Wegatha Teodros
Bilel Ethnic Group (2013)
by Faytinga Estifanos
In the artistic journey of Eritrea, I admire the following Eritreans: icon poet and film director, the late Isaias Tsegay; the late singer legend Yemane Gebremichael (Baria), and the late painter Tsegu. They have delved into the psychology of arts and the mythic studies of what freedom means.
Forget Love (2013)
by Robiel Yemane
The Town (2013)
by Kifle Adelehey
From the ideas of our best artists, our contemporary life is filled with the hope that such invaluable gifts can guide us towards the most distant future. Their ideas are life, a comprehensive instruction manual in the art of being human. Their lives are dedicated to the observation and recognition of a beautiful design, a set of principles that govern life which I can admire in its physical and chemical components.
Waiting for Men (2013)
by Samsom Kahsal
My Vision (2013)
by Kinfe Michael Gebremedin
Therefore, being an artist in Eritrea does not merely mean freeing Eritrean people, but also all the people of the world to enable them to enjoy eternal human dignity.
These artistic endeavors are a multidimensional quality of all human beings of the world seeking timeless strategies for a successful and happy life.
General Vision of Equality (2013)
by Yohannes Andebrhan Zweld
Self-styled (2013) by Mesfun Tekleghiorghis
A final point to underscore is that all artists run the risk of reaching a limited audience because most people can relate to totally conventional art. By definition, it does not necessarily intersect with commonly held patterns of experience. Their work might only be appreciated by other artists, a small part of the community, in any time or place. A certain amount of form is necessary to reach a wider audience. This is what people expect and enjoy, as long as there is some unpredictable innovation.
Fitsum Amaha Journalist, Art critic
Door and Windows (2013)
by Tsehaye Hadish Afework
