“I believe that art has a moral responsibility, that it must pursue something higher than itself. Art must be a part of life. It must exist in the domain of the common man. It must be an enriching, ennobling and vital partner in the public pursuit of civilization. it should be a majestic presence in everyday life just as it was in the past.” – Frederick Hart
. Wasn't ever really interested in an I'm ok your ok approach to art. .. And Mr. Hart's statement really spells it out nicely to rise to the occasion. What I like so much about what he said is that there is a common denominator to all of us.. And even that, when recognized is something of wonder and amazement... Art needs to be treated as a sacred object and when it's ironic or ugly it just feeds into a less than victim-like existence rather than one of empowerment. Mr. Hart was a pioneer in a time when the figure had been completely rejected by most academics and critics.. I find him to be a voice of reason in an art world that truly misses the point. This man had courage and heart!
I also wanted to mention that there is unprecedented interest in the Leonardo Da Vinci show at tThe National Gallery in London, where entrance fee is 16 British Pounds.. People are paying up to 400 Pounds just to see it.. Now I'm not saying that it's because it's Renaissance Art that it is drawing such intense interest.. Rather it's because humans cherish belonging to something greater than themselves and something that is so clearly of tremendous value and consciousness.. Who the hell wants to belong to something reminiscent of crap! Time to rise to the occasion..
I look forward to the Book Launch - Sculpture Show- Press Conference this Friday at the INSTITUTE FOR CLASSICAL ARCHITECTURE AND ART.. And I hope you will join us!
Take the sculpture off the floor and show us what can be..
Lively, informative Londoncalling.com did a terrific interview of me and my wife Traci L. Slatton.
Here's one of the rather brilliant questions author Kathryn Havelock posed:
LC: Much of Sabin’s work has echoes of the antique, for instance in the use of fragments of the human form and also, for instance, by depicting images of gods. Is there a creative tension here in terms of keeping work relevant to modern audiences or is sculpture perhaps a more ‘timeless’ art form than many others? TLS: In my mind, because Sabin lives now and is immersed in this time, his work is absolutely of this moment. The rigor and quality of his work may be at the level of a Renaissance or Hellenistic masterpiece, but the faces and physiques of his figures could belong to no other era than ours. Take a look at Aphrodite’s core. The model for the core is an Aikido master, and the strength of that belly bespeaks the modern woman: strong and feminine together. This is an Aphrodite for our time: graceful, gorgeous, and sweet, but also powerful. SH: I don’t buy into this whole concept of ‘what is modern art.’ Art represents us on a cultural level, and it also represents us on a personal level. I have always aspired to rise to the occasion on all levels, physical and mental. I find that the path I create for myself is my path, and the Greco-Roman tradition is very close to me because my family lineage came out of Italy. On a cultural level, the art is a portal into what can be, not about what is.
I do not follow the popular trend of depicting man in a lower light than he can be. I follow a higher culture that understands that our tradition is relevant, that it’s a source. It’s not archaeological, it’s a recreation and reinvention using a timeless form: the human body.