- Belgium comes to Yamashita Park
- Residential Villa in Phuket Entices Remote Workers With Long-Stay Rates
- Rare pieces of French glass art at the Mirai Museum of Art
- Feast on fresh fish and seafood at the 2024 ‘Sakana’ Festival
- Would you like to ride in a Louis Vuitton gondola lift?
- Naked Snow Aquarium
- Festive lights at Yomiuriland will get you feeling the holiday vibes
Jeremiah D. Welsh Talks Art
Jeremiah: I suppose that it is most accurate to say that my art is the outcome of my journey through life and the offspring of my experiences. It is a notation of my interaction with the polarities of life, crafted in a manner that I hope is both accessible and thought-provoking to the viewer.
TF: How did you get your start in the fine arts – and specifically, in sculpting?
Jeremiah : Both nature and spirituality are quite influential in my life. Nature is for me the realm into which I can go to refresh and recharge. I am astonished by the complexity and beauty of nature; it is my sanctuary. Quite often, when I am able to remove myself to the woods and meadows, my mind clears. Though I cannot say that nature itself always directly inspires me, it does often provide the clarity from which my inspiration grows. Nature is a celebration of polarities. It is remarkably delicate and monumentally powerful, both nurturing and harsh, filled with humor and deadly serious. Over the years, I have found it to be a wonderful arena in which to learn and grow. My spirituality is closely linked to the recognition of my place in nature – primarily that of being in awe and humbled by it. The interlaced cycles of the natural world and the phenomenon of both myself as an individual and humanity at large within them further fuels my inspiration.TF: What effect have your family and upbringing had on your art?
Jeremiah: They have had an immense impact on my art. My childhood was heavily steeped in time spent within a quite strict religious setting. This environment to which I was exposed was certainly for the most part not geared to being a child, but rather to acting as a small adult. There was a great deal of regimented quiet sitting for long periods of time, which admittedly was rather unpleasant and not a very easy thing for a small child to do.
Jeremiah: I was born in Connecticut, moved around a bit and spent much of my childhood in Western Pennsylvania. Bugs, rocks, and fish … give me a stone to turn over and by god, I was there! Who knew what fine little creatures lay beneath? If that stone was in a stream, then even better. I really can’t imagine to what lengths my poor mother was put when dealing with my strange collections. I was desperate to find my way aboard the Calypso and wander the world with Jacques Cousteau and crew. It seemed a fantastic life, deeply linking the pursuit of knowledge, wonderment, and adventure. I remember when I was quite young, that I got my mind around the idea that even the rocks, the very hardest of rocks, were subject to natural change over time.
Jeremiah: Well, there are quite a few. The first that comes to mind is Bernini. His work is so breathtakingly elegant. It demonstrates such an incredible grasp of the sculptural medium – absolutely awe-inspiring. I also find myself thinking of Giacomo Manzu – another uniquely remarkable sculptor. Further, the story of his life, his difficulties and complex interactions and relationship with the Church have always struck a cord with me. Lee Bontecou’s sculpture has also long intrigued me. Her early fabric and metal wall-mounted sculptures as well as her more recent mobiles are visually powerful and captivating.
and stark figures, the struggle, celebration and sadness of a Van Gogh and the strikingly sacred character of Mark Rothko’s grand-scale paintings. There are so many … each with a unique gift of insight.
Jeremiah: My job within the bronze industry was a very time consuming one; there was little time left in the day to work on anything for myself. The eventuality of this was that my mind was being drawn into a willingness to consider other possibilities than that of corporate sculpture. The ultimate catalyst for my move to Japan was my wife’s career. She actually was born here, just outside of Tokyo, and we had visited her family in Japan previously. When she began to look into international teaching positions, we admittedly harbored a bit of a predisposition and hoped to find our way to back to Japan once again. After several other possibilities arose, she was offered a position in Tokyo teaching third grade. Further, once we made our plans to relocate abroad known, a wonderful patron of the arts contacted me letting me know that he wished me to continue pursuing my sculpture. Thus through the kindness and assistance of our families, my wife’s new employers and colleagues as well as the remarkable graciousness of my patron, our transition into Japan was made much smoother.
Jeremiah: The “How will?” of that question is very much on mind. In truth, I am so very new here. I have the hope to find a place for myself in this remarkable new environment and a home for my artwork as well. The thought of being able to pursue my own work and to develop my own ideas still leaves me in a bit of wonderment. I have worked at such a fast pace for so many years in the industrial bronze sector that sometime I still feel myself caught up in the momentum. I am excited to see where my art will go, how it will be influenced and where it will ultimately come to fit in Japan. Happily, I find that the pursuit of sculpture is well received by those in the local community who have discovered what it is that I do.
Jeremiah: First and foremost, I deeply respect the concerns of parents and educational administrators to maintain a focus on learning that is clearly fundamental and economically viable. That being said, the most direct road of learning does not always prove to be the most progressive. Creativity is a necessary aspect of innovation. I believe that exposure to the arts and the study of them nurture critical thinking. While technical knowledge in an increasingly technical world is necessary – technical knowledge without critical thinking seems stultified. The continued integration of the arts into the educational system seems to me an important balance in the learning process and beneficial to the refinement of unique thought processes. Likewise, to further limit exposure to the arts in education seems a profound loss. Art is an essential part of human communication. In it exists a language like no other. Whether a sonata, poem, or canvas, art retains the capacity to affect the emotions and to stimulate the thoughts of people across a multitude of cultures and economic divides. It is a reminder that sometimes that which is not easily monetarily convertible can still remain precious to both an individual and a society. In the arts is preserved a very special kind of human hope and joy – a hope and joy well worth sharing with our
children and well worth cultivating in them.
For more information on Jeremiah and his work, visit www.jdwelshfineart.com and http://jeremiah-welsh.artistwebsites.com