Folk art

Defining Folk Art, it seems, is a difficult process. It would be easy to give a glib, shallow definition such as, ‘art that folk make’, but of course it is much more complex than that. One must take into account the nationalistic, the radical, and the existential reasons behind this kind of art practise(24).
Creativity and order within a nationalistic conception means that symbols and shapes are accepted by the larger community, but at the same time are appropriated by the individual, and in turn re-accepted back into the community. The art- work can be uniquely the artist’s and the community’s at the same time[i].
The radical definition characteristically is often based in a reaction to a sense of change. For example, ”if the modern world is too individualistic, full of freedom but broken by greed and alienation the folklore is defined as collective, communal, unifying.” This kind of reaction follows also according to other changes. If the ‘new’ progress is “too materialistic, comfortable but shallow” the reaction may be spiritual(25).
Ultimately folk art will usually be part of a continuum that will show continuity of time and will help define particular cultures’ style.(26)
Existentialism is ultimately a definition of the present. It seems to be about the artistic individual in real situations evolving. “Folklore, existentially, is the unification of the creative individual with the collective through mutual action.”
As an aside, I do not wish to dwell here for too long. Folk Art does tend to be categorised in to the realm of craft. The argument of art and craft, that is for other people to nut out, I personally believe that it is a moot point in this day and age, (Louise Weaver and Rosalind Piggot are examples of this.) Painting and sculpture are considered ‘art’ by the mainstream, bad painting and sculpture are just that, bad. It is not as though it does not exist, but still it will get the title of ‘art’. Where as, a finely hand woven piece of cloth could still be called craft no matter how aesthetically beautiful it is.(27)
The main reason I am drawn to Folk Art is the infinite possibilities of inventiveness, decoration, characterisation, composition and freedom. Looking through books from different countries I can glean so many ideas and adapt them to my own art practice. For example, model making, sewing, small sculptures, home altars, mixing media and different ways of presentation. When looking at masks, sculptures or textiles you can see that each piece is imbued with meaning that is either apparent or falls within a vast history of making and refining, that is interesting to me.
[i] Ibid. p. 26