“I use acrylic paints because they are versatile, available in many shades, blend well and can be mixed with glazes or pastes for different effects. As I work fairly quickly, they are more suited to my style,” he says.
“Angony is very quick when he works and he doesn’t like to be interrupted. I think that is why he doesn’t usually like to have people around while he’s ‘in the zone’” says neighbor Sheila Creeley. “But sometimes you’ll notice the green hat you were wearing or that thing that you were doing in one of his next paintings.”
Primitive art recognizes that the underlying elements of human emotions can be deeply expressed through the colors and lines of the work more than the symbols and forms found in the image. By de-emphasizing focus on the image and channeling the emotional experience of the moment, primitive artists attempt to bridge any emotional distance introduced through cultural or social differences of symbol interpretation.
This concept is perhaps best expressed by the words of Jean Francois Lyotard in his 1984 book The Postmodern Condition when he describes the process as an attempt “to make visible that there is something which can be conceived and which can neither be seen nor made visible.”
This element is most often referred to as the sublime. For many artists, such as Angony, this sublime element is recaptured to the highest degree through the sense of wonder and imagination typically found through the focus on ‘primitive’ geometric forms.
The movement toward primitive art was started by Pablo Picasso. As artists concentrated on the essence of the experience of the art and its creation instead of the symbolic form, they discovered that emotions were generally felt the same universally even when technical elements such as symbols, shapes or colors were understood differently by different cultures. This meant that the