The Artist and His Audience
The artist, needing to release emotions, sat down to his desk to create another artwork. He knew that once the state art gallery mounted the completed artwork that the visiting spectator would dive into the world that he dwelled within. Even though a participant artist and a spectator can travel to the same world within an artwork, they have two distinctly divergent lifestyles.
Emotions Involved
The artist, needing to release emotions, sat down to his desk to create another artwork. The actual emotions that the artist felt included happiness, fear, sadness, depression, joyfulness, et cetera. With the ability to create an artwork that could display any emotion that he wished, which emotion would the artist exhibit through the artwork? Unlike the spectator in his audience at the art gallery who only felt the single emotion exhibited in the artwork, the emotions involved in creating the artwork spanned across a wide spectrum that only the lone artist experienced. When the spectator visited the state art gallery and indulged in the artist's creation, the spectator visualized the artwork and, regrettably, lacked the comprehension to discern that the artist manipulated his perception in order to evoke specific emotions. For a brief moment, the two visited the same world and then, like the Mid-Atlantic Ridge extensional boundary, their lives diverged.
Creating the Artwork
The privilege of creating the artwork never cascaded over the hands of the spectator. Simple as that. A certain power resided within the artist. He wielded the tools to manipulate, to impress, to awaken anything within the spectator. A certain sense of amusement frolicked around the artist's head. The opportunity to alleviate all negative emotions by molding a new world in the artwork where he could remain. Creativity hovered over the artist as he developed the art piece. By not creating, the spectator's mind grew into a dead flower. After the artist successfully achieved the desired effect that he intended to have in the artwork, the painting captivated visitors at the state art gallery.
Viewing the Artwork
The newly constructed work of art decorated the halls of the state art gallery with its elegance, allurement, and dexterity. To charm, to hypnotize, and to astonish all that observed it. The giddy spectator gallivanted throughout the gleaming gallery with glee. Once he approached the artist's mounted artwork, the spectator convulsed at the shear amazement that the work displayed. When the spectator viewed it, he saw only what the artist allowed him to see. Anything else that the spectator pulled from it, such as deeper meanings, relied purely on personal intuition. When the creating artist viewed his own artwork, he dismembered it, set aside all of the elements and concepts of the art. The artist appreciated the fact that so many emotions lingered about the artwork that the spectator could not see. Fear radiated throughout his body at the thought of exile for his sorcery. Ultimately, the artist felt that his overall goal had been achieved.
In examining the lifestyles of the participant artist and the spectator, the analyst noticed the distinctly divergent lifestyles. The analyst remarked on the disparities in creating the artwork, viewing the artwork, and the partial congruity of the emotions involved. Even though the majority of the time the two individuals never crossed paths, a magical spell enchanted them when they explored the world within the painting.
