ART FOR THE WANDERER
In the vast landscape of the art world, Outsider Art holds a unique position, defying traditional norms and academic expectations. At its core, it celebrates the work of self-taught artists ( like me?) who create outside the conventional boundaries of the art world. Whilst last time I looked I was not a tramp, Tramp Art fits squarely within the definition of Outsider Art. Born in the late 19th century, this unique craft form, often associated with the resourcefulness of itinerant workers. During this time, many people—commonly known as “tramps” or hobos—moved from place to place, often looking for work or new opportunities. Lacking access to traditional art materials, these craftsmen ingeniously repurposed what was available, namely wooden cigar boxes, crates, and discarded packing materials.
Tramp Art reflects the beauty of turning ordinary objects into extraordinary works of art. A sustainable approach to crafting with the repurposing of discarded materials resonates deeply in today's context, where sustainability and environmental consciousness are more important than ever. Tramp Art was a form of upcycling long before the term existed, demonstrating that artistic expression doesn’t require costly or luxurious materials—just vision and patience.
The sustainable elements of Tramp Art are not just about the materials used but also about the mindset behind it. The artists of Tramp Art didn’t just recycle out of necessity—they reimagined and reinvented the ordinary. Their works are testament to the power of creativity and imagination, that there is value in everything.
The beauty of Outsider Art or Tramp art lies in its rawness, where the rules of perspective, technique, and formal critique are less important than the artist’s vision and intent. Much like my previous blog post on Aboriginal art, these purer currents remind me to gaze in and not out - its a hard lesson and a constant battle. The idea that I can be meticulous while still channeling my raw energy is something that often feels like a contradiction. I am also really drawn to the more unusual silhouettes and wonder how they might work in clay?
