Audio - UN: LaFleurDeParis

[repaintress]

[The voice that comes through on the network is elegant and precise - every word is weighed and considered before being spoken. ]

I am told this is a forum where one may solicit public opinion.

If there is one experience you could have again, what would it be?

What from your home do you find yourself missing the most?

Comments

[betenoir]

You are correct. I think a new artist would be a wonderful addition.

[Compliment in one hand, dislike in the other.]

[repaintress]

I've met people from a wide variety of places here. Earlier, I met someone who hails from Japan. I would be most intrigued if we were gifted an artist from somewhere quite far away. I know you've not had the chance to fully explore the art of the world, perhaps there would be some inspiration for you.

[betenoir]

There is no reason I cannot meet new artists and remain in the comfort of home.

[He figuratively has one foot in a new world, one in the old. The emotional experiences of his life lend his pieces a perspective she cannot experience for herself.]

[repaintress]

There is something special about seeing art in its context. I also have found that seeing art in different spaces can in turn shift one's one perceptions, lending one a new understanding each time. One's state of mind also matters, and on some occasions, I have found a certain amount of discomfort to add to the final experience.

[betenoir]

Perhaps. But one can rely on assistance too much in order to experience feeling. The effects are not a true representation of one's true, sober feelings. The art may feel profound. But is the experience genuine?

[And he's not just talking about drugs.]

[repaintress]

How can you know the experience is genuine if you have no basis for comparison? Furthermore, simply because an experience is genuine does not make it complete - who is viewing a work with you and in what context matters. Context can change your opinion drastically, but it does not make either opinion false.

To only view works in a vacuum is to deprive yourself.

[betenoir]

Art comes from experience and emotion, two facets of what some call the soul. Enhancing yourself distorts your work because you are inviting the influence of others onto your canvas.

One must view works in context. But when it comes to mixing your emotions with another, there is always a void where the two must meet.

[repaintress]

The void is part of the experience of viewing the work.

Inviting the influence of others into a Canvas is not always a negative. It becomes a negative when one's collaborator abuses trust.

[betenoir]

It is a delicate thing, no? To be able to trust those viewing your work.

[repaintress]

Yes. And more delicate still when those you least expect to abuse it do so.

[betenoir]

What you describe is stronger than abuse. I would not speak in such terms were I ever guilty of the same.

[repaintress]

[ She knows what you're referring to, Renoir. ]

Is one to accept abuse in order to not distress the audience?

[betenoir]

[GOOD.]

Not at all. But an artist is responsible for maintaining their work rather than abandoning it.

[repaintress]

The decision over how long a work exists resides with its creator. Once an artist is compelled to work, it ceases to be art. True art cannot be coerced.

[betenoir]

True art has a life of its own, mademoiselle. Is that not what they say?

[repaintress]

They also say the Impressionists are masterful artists. Conventional wisdom is not always correct. The art's life comes from the artist and the audience, not the artwork itself.

[betenoir]

A painting is not a mere collection of colours. Regardless, you are familiar with cultures contrary to the mainstream, no? I expect those people will say the same about you in thirty years.

[repaintress]

Of course.

I hope they do. I would like nothing more. Whatever work I make must also be critiqued and hopefully improved upon. I look forward to seeing what is made by the next generations.

[betenoir]

You overestimate the average person.

[That, too, is not something he used to say.]

Work can change in numerous ways over decades, but its soul always remains constant.

[repaintress]

The average person's opinion is irrelevant. Somewhere in Paris, there is a boy or girl just beginning to toddle who will eventually create works of unparalleled beauty and genius. I would learn from the masters who come after me as much as the ones before.

I disagree. The soul of a work can respond to events it witnesses.

[betenoir]

Yet here you impose yourself on the imaginings of others, while demonstrating an opinion that never seems to change.

[repaintress]

Changing an opinion for the emotions of others is just as weak as refusing to change an opinion when presented with evidence.

Furthermore, you are not privy to my opinions. You are incorrect in your assumption it does not change.

[betenoir]

Certain situations deserve empathy instead of unfeeling logic, mademoiselle. Compassion is not weakness - and sometimes the need for harmony in relationships is of more importance than being correct. Human opinions are based as much on memories, hopes and dreams as facts. You should know this, as much as you should know what is reality and fact changes between one person and another.

For all you speak of the progress of art, you are still subliminating your opinions into something socially acceptable.

[He's not angry. Just disappointed.]

[repaintress]

[ She can be angry for them. ]

One's opinion does not change when one shows 'compassion': That is simply one person being quiet for the sake of the other. It is much easier to champion compassion when you are not the person being expected to quiet himself. Certain realities cannot be ignored for the sake of someone's feelings. It is weakness to expect others to quiet themselves or not correct me because of my emotions. Would you back away from this conversation if I said it were distressing, monsieur?

[ Clea is well aware he would not. How easy to argue for compassion when that means others bowing to your will. ]

How little you think of me that you think I have not formed my own opinions. Public opinion is not relevant. We occasionally find an accord, but that is not the source of my feeling. I recently learned that a taboo exists for a very good reason.

[betenoir]

You're very welcome to believe that, mademoiselle. And I am free to ignore you.

[That is one choice he can make. But it would be made with reservation, because he cannot afford to ignore her.]

Yet, here we are - enduring each other's company. I have made every effort to ignore you but I see that would be pointless.

[For at the end of the day, they want similar things, but for different reasons.]