I begin by reducing pictures to their simpliest elements and allowing for motion-spontaneity in the creation-integration of those elements.

So my statements concerning space begin with my motions in space and simultaneously come to be and rest in space (they represent and are the motion that went into their making).

So I dreamed and the motion of my dream led to the motion of my getting out of bed and picking up the glass pieces I had examined and discarded at the foot of my bed and putting my new dream organization-revelation motion to work with the motion of my remembered motion with regard to backing and painting and setting aside masonite would be two foot by four foot painting surface motion and with regard to my accumulated mental motion concerning propped male-authority female-reticent large family organization, and my resulting motion was and is polyphiloprogenitive.

My earphone drawing is my motion in response to the earphone motion-of-the-viewer potential, i.e., I felt as though I could just as readily be standing at any point under, to the side, or behind the earphones or move in those ways around the earphones, and I translated that felt motion into my motion, and the picture is all of this.

All of my pictures have to do with motion: overt motion (obvious) and covert motion (symbolized).

I have seen all things vibrate and move independently as one: the fire hydrant, the grassed ground, the curb, the street, and the boy running down the street. They were all themselves and had their own motion, and it was in the inter-lapping of their motion that they became one and resolved their superficial differences.

My four piece black-silver-gray collages do this obviously and with the least (and therefore the most) complication.

The black, silver, and gray paper itself has a motion that would and does work independently of cutting but is emphasized by and in turn emphasizes the cutting: they are mutually exclusive but work as one.

Yes, and my brush tempera statements work in a constant of space and tone balance as independent but simultaneously as one: they are non-variety variety.

G. A. Villa
April 22, 1971

From May 22 through May 28, 1971, I had a one-man show of paintings, photographs, and collages at the Sisti Galleries in Buffalo, New York. I remember most vividly that at the opening of the show only two or three friends were there initially, and I remember especially their kind and encouraging words as we waited with a happy and muted embarrassment for others to show up. Probably there are no more isolated activities than picture making and writing, and those endeavors are both a joyous and demanding way to fill one's time. The solitude and courage required are nourished by friends who care about one's direction in life and the hope of the arts.

The written statement for that exhibition drew a good amount of positive response, and I have always enjoyed it as a personal and playful and honest statement of a 25-year-old who could not spend enough time in art museums, making pictures, and looking for the aesthetic in all manner of things around himself. It is reproduced here for you. Some of the pieces have survived with friends, and a note should be made about "polyphiloprogenitive" as it will be confusing to read about it without knowing what it was. I had come into the possession of a large number of scientific glass pieces, and I finally arranged them (mostly upside down) on the top of a white carefully prepared board so that they represented with some whimsy and, I think, beauty, a father, mother, and many children. The father was on a pedestal, and the mother was on a somewhat lower platform. Many children from infant to older children were represented. "Poly" means many, and is combined with "philoprogenitive" which means "producing offspring" and "of or pertaining to love for offspring, especially one's own."

I hope you enjoy it.

The Villa Studio

One-Man Show 1971

About G.A. Villa