Led by the experienced professional artist Erica Cordell, the B3 fall into the category, of ‘Outsider Art’ this is art made by self-taught or supposedly naïve artists with typically little or no contact with the conventions of the art world. In many cases, their work is discovered only after their deaths. Often, outsider art illustrates extreme mental states, unconventional ideas, or elaborate fantasy worlds.
The term outsider art was coined in 1972 as the title of a book by art critic Roger Cardinal. It is an English equivalent for art brut (French: [aʁ bʁyt], “raw art” or “rough art”), a label created in the 1940s by French artist Jean Dubuffet to describe art created outside the boundaries of official culture. Dubuffet focused particularly on art by those on the outside of the established art scene. In New York since 1993, there have been Outsider Art Fares and there are at least two regularly published journals dedicated to the subject.
Andre Breton founder of the Surrealism movement studied Sigmond Freud. Breton a devote Marxist sort freedom and aimed to liberate thought and narrative. Breton saw the unconscious mind, which produce dreams as the source of artistic creativity.
Surrealists Rene Magritte and Salvador Dali created hyper realism in dream like visions. Frida Kahlo gave Surrealism a voice in South America using the traditional artistry of Mexican ex voto (an offering to a saint or a divinity).
Stefan has created a beautiful dreamscape in which he has painted in hyper-realism Marilyn Monroe’s red lips. The primal function, sex appeal. To quote Marilyn ‘Never underestimate the power of red lips.’ In Surrealist style, Stefan offers to liberate thought and narrative.
This work by Stefan Kater holds the principles of a formal analysis of a Still Life painting.
We see painterly and linear forms. The painterly form is more elusive – attention is withdrawn from the edges, outlines are de-emphasized, it has a softer appearance, assisted with the light. In contrast the linear form emphasises the outline of the bottle giving it a special clarity and spatial separation in relation to the other objects.
This creates an absolute and relative clarity, here we see an independent unit, the bottle painted in an explicit and articulated form, with the work perceived in which other individual elements are less clearly articulated, yet it sits perfectly as one composition. The tour de force in this painting is the light and shade. This is a unique use of the Australian palette. The strong reds and yellows with an ochre colour could be placed nowhere else in the world but Australia and therefore it is a first in a Still Life painting.