Framing the Unnecessary.

Temporarily adding the unnecessary to the entropy wall.

It is clearly a large painting, more than half the size of that sculpture.

‘The Unnecessarily Erotic Amoebas of Port Elgin’, watercolour, 21″ X 30″, framed its 28″ X 36″, $25,000.00 US

One of my favourite frame jobs. This one is 28″ X 36″ overall. I made the wooden part with ebony, more for its weight than anything, I painted it black anyway. The inner frame is of gold filled copper bars, not plated, I think there is 6 or 7 ounces of gold that you could recover, but its a secret thing to hang on your wall you see, who would know why you paid $25,000.00 US for this unknown artists work.

The Invisible Viruses of the Subconscious.

‘The semitransparent Ostriches of Enceledus’, 5″ X 7″, pen on paper. It could be either, what were you thinking the last time you made a drawing of something? My favourite work is when I’m not thinking, which only happens alone, no cameras recording anything, then it would not be meditation. And for many artists that is the case. Preparing and making content for a page in order to attract interest to sell the work disrupts the work itself. Perhaps not so much for the younger generation which seems permanently on camera. For myself, I would have to set up cameras running all the time and learn how to ignore the fact they are there. I have tried over the many years of this blog, but its still the same effect. When I start a drawing or painting, I am not thinking about you, or anyone or anything else. When a camera is set up to record, that’s all I can think of, the cameras there, how should I sit or hold the brush for you to see what’s happening, so I am no longer creating the art, I’m creating a version of it for others to see. They don’t happen with the purpose of making money, however they are for sale, and I do need money to live and create more oddities.

How to draw a picture.

How to draw a picture.
I seem to have difficulty thinking about the process of recording work as it happens. I am rarely thinking about the broadcast nature of it all now. For my website to work properly, lots of traffic, I should be posting regularly. It does work to a degree, but not really for selling art at the price it should be. For that, how they happen is private.

The Entropy Wall

The ever mutating studio wall. I’ve felt for a while now that the public does not get a good idea of the artwork from a digital or computer screen of some kind. That wall is not electric.

The painting is called ‘The Last Supper’, 1996, you can probably see why. That’s Judas hanging in the corner, I had to find a way to fit that in with the rest of the nonsense, there is a lot of it in this painting. There is an H- bomb dropping from the sky and the writing on the wall says…

And the Lord spake unto his disciples,

LOOK AT THIS MESS,

and verily he said, I can’t leave you guys alone for one minute,

and then he let them have it, saying unto them,

‘This is it! This is the last time I do anything for you lot of ….

Its been seen in public twice now, with a friendly audience only, a pop up type show in the anthropology lunch room, maybe it was independent studies. And a little out of the way cafe where I had to carry it on the bus to deliver it, I was so determined to poke somebody in the eye with it. Its quite heavy, 48″ X 32″ X 0.5″ plywood and 20 lbs or so of paint.

The foot of the tree in the park across the road from the centre of the universe.

‘The foot of the tree in the park across the road from the centre of the universe.’

‘The foot of the tree in the park across the road from the centre of the universe.’, 9″ X 12″, pencil on paper.

‘The other side of the foot of the tree in the park across the road from the centre of the universe.’, 9″x12″, pencil on paper.

These drawings were among the first I made following yet another health disaster. Lung disease from living in industrial cities. Doing industrial jobs, I was a sign painter when it was done with paint, also highly toxic, full of lead and every other element of suspicious sources to make real colour that lasts. Forever. That’s what it said anyway. At this point in time I was coping with the 8th time my lung collapsed. Like a balloon popping, you can hear it when it happens. I recovered by sitting on trees and drawing them. The roots mean something to me, the interface to the underworld. The part the tree knows but you don’t. They also look like foothills of mountain ranges like the Himalaya’s which are getting bigger as the glaciers disappear.

Deluge: Metropolicide IV

Deluge

This piece is 5″ X 7″ in mixed media on paper. I would love to have made these 30 or so paintings in 5 feet X 7 feet. Large paintings do make an impact. Especially when they are larger than the person viewing it, it makes them look up and around far more I have noticed in shows. Maybe large prints on canvas would work, but they are expensive to create. Or a 72″ monitor positioned in your living room to show every work of art you have collected. The most expensive way to show art.

Tri Polar

Tearing oneself apart from the inside is a difficult concept to portray visually.

This was the third painting I made in that. I was feeling better physically, enough so to stretch a large canvas. In the under painting of acrylic gesso mixed with plaster and semen, I painted an equation, with my blood. In essence it describes the population of the earth at the time I painted this, divided by the claimed wealth of all nations, which then equals the amount you are entitled to. No questions, no legal defence allowed. You are all way over budget. Time to stop. I followed the equation with an acrylic under painting of a nuclear explosion. Which was followed by the self portrait ripping my face off.

Oil on canvas, 42" X 42". 2005.
‘Tri-Polar’, 42″ X 42″, oil on canvas.

I called it tri-polar because I did not agree with my psychiatrist. All you have is on or off, I have an in between which allows me to divert the rage in us all into art. Do you? I think that is how art happens.

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Gravity well.

Plaster casts of Hungry 1.
The weight of Hunger, digital manipulation.

I believe its a fact of physics, the more hungry people there are, the more people will be pulled into that grief. Like a gravity well, a black hole of hunger.

Hungry

It is a constant theme in my artwork.

The plaster casts were intended for the kitchen counter back splash for the ‘Hungry Kitchen Exhibit’.

The Gravity of Hunger, digital image.