The Spinner Paintings:

Below are The Spinner Paintings that I created in college. These were experimental works that I created as a first step towards interactive and installation type painting. Each painting was 3′ x 3′ in size and had two paintings on it, one on each side of the 2″ x 4″ stretcher bars. The stretcher bars had large dowel rods in each of the four sides of the paintings, and each painting had a stand that I had specifically designed for these works which allowed them to work as an installation piece that would allow the paintings to be viewed at various angles and rotated in numerous ways.

Whistler
Whistler © 1998 Jeff Thomann
Media: Oil Painting
Da Vinci
Da Vinci © 1998 Jeff Thomann
Media: Oil Painting
Matisse
Matisse © 1998 Jeff Thomann
Media: Oil Painting
Mondrian
Mondrian © 1998 Jeff Thomann
Media: Oil Painting
Van Eyck
Van Eyck © 1998 Jeff Thomann
Media: Oil Painting

Degas
Degas © 1998 Jeff Thomann
Media: Oil Painting

I feel that in many ways these works were sort of my way of showing an appreciation for the art and artists that these works were portraits of (and simultaneously emulations of) in much the way that many of Red Grooms works showed an appreciation for other artists by emulating them.

Happy Anniversary Painting

Happy Anniversary © 2005 Jeff Thomann, Media: Acrylic Painting
Happy Anniversary © 2005 Jeff Thomann
Media: Acrylic Painting
Artist’s Statement: http://jeffthomann.cwahi.net/artfolio/HappyAnniversary.shtml

I created this work as a wedding present for my wife. It hangs in our bedroom. The painting was done based on a blown up copy of one of our engagement photos. To copy the basic outline of the photo on to the canvas I used the Pounce Method of Image Transfer with some crushed up charcoal wrapped in a cloth. This method of image transfer is a great way to start a painting, but only if the image you are transferring from and the painting you are transferring to are the same size. With the advent of digital photography and printers that are able to print any size photos, there are tons of possibilities for this ancient method of image transfer.

I do not believe that I have never exhibited this painting in any shows, and do not plan to do that at any time in the future as the work is very near and dear to me, and I’m almost hesitant to put it on my website and blog. However, since I wish for these online locations to outline the type of work I love to do, I feel like this needs to be here.

Self Portrait in Red and Blue

Self Portrait in Red and Blue © 2006 Jeff Thomann, Media: Oil Painting
Self Portrait in Red and Blue © 2006 Jeff Thomann
Media: Oil Painting

I created this work back in 2006 as a way of keeping my oil painting hobby going. At the time that I created this work I didn’t have the best studio to work in. We had purchased a house with a large basement that I was trying to use as a studio, but it was dark, moldy, and had a lot of dust and mildew in it. I did light up the place with some hanging lamps, but it still was definitely not the best place in the world to be doing oil painting since there was not much ventilation. There was a small garage door that I put fans nearby but this was still a horribly ventilated area. I fondly remember smelling the chemicals from the studio one floor up in the main living room several days after I created this work… that was something Tekla and Genesis didn’t care for too much. After that incident I went to trying to do works that require less fumes such as acrylic, color pencils, etc.

I believe that this painting was exhibited at the Columbia Art League the year that it was created.

Table from the BFA Exhibition

Table from the BFA Exhibition
Table from the BFA Exhibition © 1999 Jeff Thomann
Media: Oil Painting
This Work was one of several in a series I created for my BFA exhibition back in 1999. The BFA show was based on images from my dreams that I tried to remember via a dream journal/sketchbook. I’m not exactly sure what the symbol on the paper that the hands are holding means, but it was a part of the dream that I remember in detail, along with the composition of the painting including that window in the distance that sort of backlit the room, making it difficult to make out the details of the features on the individuals in the meeting room. The framing of the room is odd looking as the walls don’t seem to match up, but that too was a part of the dream.

In many of my dreams the architecture and location of images in a composition I see in detail seem to have some sort of deep and profound meaning to me. At the time that I created the BFA show I was studying Carl Jung’s theories on dream archetypes. I believe that both a location in a dream as well as the individuals can become archetypes. That is why we have dreams that are located in the same, or very similar settings multiple times throughout our lifetime.

I do not practice magic or the black arts (well at least not directly even though art creation itself is a bit of a magical act in some ways), but do sometimes read about these things as they interest me somewhat since they are sort of related to psychology and art history, both of which are topics I have a lot of interest in…

I think that new age ideas about astral kingdoms created via meditation practices are directly related to lucid dreaming techniques that we all experience at some point in our lives and that the architecture, objects, and figures (archetypes) we see and interact with in our dreams can play somewhat of a major role in the worldview and in that way can psychologically help us alter the world around us… but it’s not truly ‘magic’ – it’s psychological manipulation and self therapy techniques that can alter the way we think about the world as the objects, places, and things in our dreams are really our subconscious thought patterns communicating with our conscious brain, picking up patterns and connections that we may never have noticed before, allowing us to become aware of things in a new light that we have not seen them before consciously, etc. Dreams can and do play a role in our waking world realities every day whether we acknowledge it or not.

http://january2013scanphotographartetc.shutterfly.com/

http://january2013scanphotographartetc.shutterfly.com/ – link to a little bundle of pics I uploaded to shutterfly tonight. Most of them are ancient sketchbooks from the late 1990s, but the acrylic paintings, encaustic paintings and photos are very recent stuff.

I might crop some of them and put them here on the blog later. Some of them are multiples of the same image because I like to shoot several pics of one work and pick the best of them with fewest blurs, bad contrast, etc. for various things. I’m not sure – I may have scans of some of these somewhere in the blog already?… Oh well, multiple images of the same thing isn’t necessarily a bad thing.

Lighting was not very good on many of these… I was using interior lighting and that’s never good for shooting art. It’s too cold to go outside, and I don’t trust the wind outside when shooting photos of artwork on paper since paper tends to catch in the wind too easily. A few years back (a couple of months before we moved out of Boonville) I did try to shoot a bunch of artwork outside and a lot of it got caught in a big gust of wind. The same day a wind gust knocked over the tripod and busted the screw connector at the bottom of the camera that was on the tripod at the time. That poor camera finally died on me about a month ago or so… it’s had a hard life. I haven’t thrown it out yet in hopes that maybe it will get some life again someday… (I think something’s gone wrong with the battery connection or something).

Shooting photos of art is much faster than trying to scan them. I also scanned a bunch of my ‘morning pages’ today from the last year or so. I have not consistently done that every day, but there’s still a heck of a pile of paper. I probably won’t publish that to the public since there’s a lot of private thoughts on it… but might upload it somewhere secure for a backup like in email or google docs. Scanning those is not super time consuming since I’m going on very low resolution of 100 dpi or so for the scans since there isn’t any real big drawing/painting to it even if there’s a sketch or two here and there from dream scapes I tried to outline the architecture of, etc. Many of my dreams have a very architectural feel for them… various locations tie in together in various ways with hallways, placements of architectural elements, etc. It can sometimes get intricate in how I try to detail my ‘morning pages’/diary or whatever you want to call it because of that… Jung had archetypes. I have archetypes and architecture that those archetypes act in. All the world’s a stage…

New Years Resolutions

New Year’s Resolutions:

1. Exercise Regularly, and avoid setbacks like the stab wound, hernia surgery, Bursitis, etc. from this year. If a set back does come my way, get back on course and stay on it with a quick recovery. (no more weeks off at a time). I’ll probably start light with once a day workouts. I don’t know if I’ll go back to the twice a day like I was doing before the hernia (which wasn’t technically a hernia, but was close enough that they had to do a surgery). I probably won’t keep up the 1000 day tracker thing any more since that is ultimately still the goal, but tracking it puts too much stress on myself (might be part of the reason these set backs came about? The UNIVERSE/Subconscious/Collective Subconscious/Gut Feeling is telling me that’s not the right way to do it. I still will track things, just not exactly that way)…

I DO PLAN to still eventually get to my goal BMI weight over the course of roughly 1000 days or a little over 3 years, regardless of if I’m tracking it or not. I HOPE that it won’t take that long… but if I do things slowly and only workout 20 or 30 minutes a day, I suspect that it might take that long or longer… the two a day workouts exist basically to increase the calorie burn per day to get to goal faster. Time-wise though, I’m not sure 2 a day workouts are really feasible… I might try walking on breaks at work again to help with that, but am not sure about that or not. ‘breaks’ exist to take a break and center/calm… adding more stress in the form of physical activity at those time might not be the best thing to do?…

2. Get back in to creating art regularly. This includes drawing and painting at the moment, both digitally, and on paper/board/canvas, etc. It might eventually include creating 3d models too, and probably will include photography, but only time will tell if those will be main focuses or not. I will likely have to fire up the ol laptop to get the scanner running again since it doesn’t work with this computer… However, instead of scanning stuff, I might try shooting it with a camera instead?… I’ve never done a very good job of shooting my works with a camera, in part due to lack of practice. Might have to change that?

3. Learn to play music. I’ve had this midi keyboard for years, but have never really learned to master it yet. I’m not just going to do midi though. This includes some other stuff too probably. I found this learn to play music app/youtube thing the other day – and so far it’s taught me that I have been playing wrong up til now since all the beginner books teach you the wrong placement of fingers… 12312345 is better than 12345. I’ve read/heard some interesting info about studies on how music can help those with Alzheimer’s. It helps them increase verbal skills/patterns, etc. I don’t think I have Alzheimer’s, but I do think that the more I get in to visual art, the more tendency that I’ll have to get some symptoms that are similar somewhat. It has to do right/left brain usage. The more I dig in to the visual pattern thinking mode, the more I start loosing memory due to loosing connections verbal pattern thinking mode.

If I study music and visual art simultaneously I’m hoping to overcome that hurdle because even though I think having memory loss, etc. is not a ‘bad’ thing, it is an annoying thing. It’s never good when getting so deep in to creating a painting/drawing that you forget where your keys are, forget pieces of conversations you just had 2 hours or less ago, forget where you placed some tool you just had in your hands less than 10 minutes ago, etc. In the past I’ve overcome that sort of thing by mentally just telling myself it’s ok… When it first started happening many years ago, it would freak me out big time, and I’d go on crazy panic attack induced searches around the area for those lost keys, tools, etc. til they were found. I learned that it’s not as important to do that the more that I studied/learned the connection between that sort of thing and right/left brain connections. However, I’m hoping that learning music can help that sort of thing just get bypassed… also am hoping that maybe it can help me stop the eventual possibility that I’ll actually develop true Alzheimer’s down the road as it does run in my family a little.

Learning to play music will probably include learning to do some remixing type of stuff, and possibly writing some music, etc. I’d love to be able to integrate visual and musical arts sometime down the road… but only time will tell how that will happen. I don’t necessarily like animation since it takes so many hours of work to get just a few seconds of results. However, I’m not going to limit myself and say I won’t do animation/3d type stuff. I likely won’t upgrade Lightwave though since it’s expensive. I might possibly try to learn blender, but that seems like a difficult task. Only time will tell what I’m going to actually do. However, I do know that I want to try to set aside some time to learn to create music before I try to teach myself to manipulate it as background noise for visual arts since that’s a skill I’ve needed to learn for a long time but never took the time to really master yet.

4. Eat Right. I’m probably going to try to do more of the ‘No S’ Diet… “No snacks, no sweets, no seconds, except sometimes – on S day(s).’ I’ll probably try to check sugar more regularly too maybe. I’m say maybe because the Doctor says that if I keep on track I probably won’t have to check it but about once a week or so… the trick is staying on track… it’s so easy to fall off track…

5. Write things down. I’m going to try to do ‘morning pages’ from The Artist’s Way again. I’ll probably also blog some since that is sort of similar to doing that. I will likely burn through a lot of paper, and it won’t all be on acid free stuff that will still be around after I’m long gone for many years as it will age and turn yellow, but that’s ok. I might also try keeping multiple notebooks to notate various things like I’ve tried in past years some…. I might get in to using sketchbooks more too, but we’ll see. I’m not sure I can afford to buy a ton of sketchbooks regularly, at least until after Tekla graduates from Massage Therapy school in about 8 months.

How many hours a day should I draw?

Came across an interesting thread over at conceptart.org today…

http://www.conceptart.org/forums/archive/index.php/t-35391.html

One poster in there indicates that he draws 4-8 hours a day. Currently since I’ve been focused on working out/loosing weight, I have cut back my own personal time to do art… but I want to get back in to it.

I also might possibly try writing during lunch/afternoon/morning breaks at work to make more time for ‘morning pages’ but maybe not… because I rarely have a bunch of free time at work even on breaks…between going up stairs, to bathroom, to cafeteria, then back down stairs, etc. there’s rarely more than 5-10 minutes of ‘free time’ during breaks… I could possibly get up earlier, but am not sure if that will work or not since plan of going to be bed at 10 only gives 7 hours max when getting up at 5…. been going to bed much later than 10 lately… one night during the weekend I was up til 2 AM I think… luckily next day I could sleep in since it was weekend… sleeping in on weekends is something I need to do away with eventually.

Goal for second month of the 1000 day challenge (which starts in two days on Wednesday) will be to do a second work out a day in addition to the one a day I’ve been trying to get in this first month. I originally was going to make doing the NO S diet the third month’s goal and possibly doing one page of ‘morning pages’ in the evening a goal for the month after that but may make drawing/painting the goal for the third month. I might try to do it some little bit during second month to get used to it more…. working it in might be tough but should not be too hard since I have all of my color pencils next to the couch now all organized by colors… light reds/earth tones, dark reds/earth tones, light blues, dark blues, light greens, dark greens, neutral/black/white/silver/gold, and yellows… I also have some room set up in the art/storage room on a few tables to do paintings/drawings… now just need to make the time.

Honestly, the first few weeks of the working out twice a day will probably be tough on me due to sore muscles/etc… so it’s probably a good thing it’s not the second month’s goal to draw/paint right at the first…

Now for the third month I need to think about how long to draw/paint… and how much time to set aside for each. Paintings typically take me a very long time to do since I’ll rework an area over and over and over and add new layers later, etc. then there is drying time, which for acrylic is not as long as with oil painting but it still is time…

In theory evening workout time should be from about 5:00 pm – 6:30 pm by the time I get shower etc. done. That leaves from 6:30 – 10:00 to try to work in some art, assuming Tekla and I are not spending quality time together, etc. 20 minutes of drawing, either in one session or like four 5 minute speed drawings mith work… maybe alternate between those two, and/or ten 2 minute drawings to fill the same space maybe… then after that 20 minutes go on to longer work.. either with acrylic or color pencil for an hour or three… and then 10 minutes or so cleanup time to get brushes clean, etc. might work. Not sure if I’ll be able to do that every night, but want to make it a goal to get to that level, give or take a little… and then work in art on weekends too. Saturdays being the ‘rest days’ on workouts should be best day for art in theory… but on Sundays being laundry day might be better as a ‘rest day’ instead of Saturdays since gym shorts can’t be dried so have to be hung dry, and are not always dry all the way through before I want to workout if I work out on Sundays… I alternate between shorts and then wash them at the week’s end so that way I don’t have to have a 6 or so pairs. I used to only use one pair but working out twice a day, that’s not acceptable since they are typically still sweat soaked by the time the next workout rolls around. I might need to buy more gym shorts with the next incentive money, if more comes in in the future… and also might get at least one more kettle bell set so that I can do two arm kettle bell workouts eventually, or so there will be one set for me and one for Tekla if we start working out at the same times regularly.

Right now, I’m thinking maybe 2 hour minimum of drawing after month 3 starts might be a good low aim, and any more than that is just nice little extra. that way I’m not kicking myself with negativity snowballs from hell if I don’t get in a full 3 hours a night…

Eventually I’ll need to get the scanner going again… laptop needs to be used for that since main computer doesn’t have a driver for it… laptop is on it’s last legs I think, but it is still useful for that and a few other oddball tasks that I don’t have drivers for on the latest version of windows… Just wish Linux, which is what I use on laptop, had a driver for US-RR 360 sound recorder… becuase i really don’t want to have to reinstall windows xp or drag out an old computer from storage that has it to be able to use the sound recorders again…

Painted a little…

I went in to the ‘art room’ and painted a little today for an hour or two. I will probably do more of this in ‘spare time’ from time to time. It’s going to take a little while to get my skills back up to speed, but I can do it. I also have decided that eventually I probably will add learning to play my midi keyboard as a goal/challenge for myself. I’ve had the thing for years, but never have done much with it. The first few months I had it I got to the point I could play jingle bells, and then quit. I pound a few keys on it here and then, but haven’t done much. I have ways to record it to the computer that I didn’t have a few years back due to low computer specs/speed even though I had the software and connectors to make it happen. I originally got this thing thinking I’d go in to making my own music for animations I put together, but I let that goal of making animations die slowly and let the goal of making the music sort of fade away over time. Now that I’m challenging myself to live better, I want to make these goals a little more of a reality in my life. I may never become Mozart or whatever, but I would like to learn the basics a little more than I can do them now. Even if I never do an animation, the background music for still images in videos and/or slideshows could have some potential. Closest thing to doing some artsy video like that way back several years ago was this little thing I threw together… not very good, but it’s catchy tune, at least to me, lol…

and these little annoying things…

In the future, I might try to do more of this type of stuff… I wanted to back then but didn’t have the time, nor really the computer power that would allow me to do much since putting this sort of stuff together would max out cpu/gpu back then and/or ultimately cause computers to crash if the machines got too hot. Nowadays, this sort of stuff is nothing on the cpu usage… so more can be accomplished. Now just got to get myself to work towards the ‘work’ part of making those accomplishments become accomplished realities.

David Thomann Memorial Painting

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David Thomann Memorial Painting
Oil on Wood Panel
© 1998, Jeff Thomann

This is a work that I created about a semester before I created David Thomann Memorial Installation

This work was created just before the time that Photomosaics really became popular. The painting was basically a bunch of photos that work together to create an portrait of my Uncle Dave. However, I painted the photos individually. The images are from a variety of sources.. family photos, and a variety of other scenes, some which were not actually derived from photos, but were scenes I had lived through in person or had some knowledge of… The inability to really tell the whole story that was behind my reasons for creating this work led me to create the Installation later. I might try to get a better photo of this painting later since there appears to be some glare on this one.

BFA Show – Comic


Comic
Oil on Canvas
© 1999, Jeff Thomann

This image was one of the 3′ x 3′ works I did for my BFA show. This, along with the other images in the show were derived from dream imagery. I had started several dream journals in college, and the images for this show were painted versions of some of the images from those journals.

Capturing dreams in a journal is not always easy. I ‘cheated’ a little some of the time that I was doing these images since I had to come up with some of the dreams to put in to the paintings. I did this by sleeping with the lights on and covering my eyes when I slept, and I kept the sketchbooks and journals next to me within an arms length of where I was sleeping, and would start writing as soon as I awoken from a dream. Covering the eyes while the lights were one forced me to remember the dreams as I awoke when the light hit me eyes. However, I had to work quickly to put the dreams down in the book as quickly as possible before my conscious waking mind took over the subconscious train of thought and started putting too much ‘real world’ left brained stuff in to the images and cause/effect relationships and stories beyond what the dream actually contained that I was trying to capture. You have a very short span of time to do that sort of thing if you dream journal as the waking mind sort of takes over within 5-10 minutes or so after you wake up.

There is a lot I learned about dreams in doing this. My dreams are very much based on architectural ideas and archetypes. Many times multiple people in real life will join in to one being in a dream… creating a construct of sorts.. and these archetypes/constructs play roles. Dreams really do have a meaning and reflection that comes from the waking world, and there is a method to them. If you every try to dream journal, you can learn this methodology and the meaning behind the dreams. Most dream interpretation books are way off. It’s much much more personal than any of those can every really get to the real reality of because every person’s personal archive of images that they draw upon from their own waking lives is unique to them… I might make more posts about this in the future. There is a LOT to dream journaling.

On the Road

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On the Road
Oil on Canvas
© 1999, Jeff Thomann

For a while in college I was fascinated by the idea of driving and the metaphor of how the car becomes a part of one’s self – an extension of the inner self in a variety of ways. Much of my art since that time has revolved around the idea of the journey, and seeing the landmarks on the road we see daily both in cars and outside of them. Roads that parallel highways and exit ramps and overpasses – tunnels to new places, and exits and entries on the highway of life fascinate me both visually, spiritually, and emotionally. We are all on journeys every day. Do we take the time to see what we are passing or just let it pass us by?

Self Portrait with Cabin in Background

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Self Portrait with Cabin in Background
Acrylic, Watercolor, Pastel, and Charcoal on Cardboard
© 1999, Jeff Thomann

Draped Figure Drawing

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Draped Figure Drawing
India Ink, Colored Ink, and Charcoal and Tea Stains on Paper
© 1999, Jeff Thomann

Pastel Figure Drawing

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Pastel Figure Drawing
Pastel and Charcoal on Paper
© 1999, Jeff Thomann

Reclining Figure Drawing

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Reclining Figure Drawing
Pastel and Charcoal on Paper
© 1999, Jeff Thomann

David Thomann Memorial Installation


David Thomann Memorial
Oil Paint and Collage on Canvas and Wood
© 1999, Jeff Thomann


I added the above youtube video to this post to help show the work in a way that is somewhat close to the setup it was originally intended to have. Unfortunately, I’ve never shown this work in a gallery or anything, so this was a quick video I took recently in 2014 before putting the work in to storage.

It’s hard to display this work for me due to the emotions involved… It’s difficult to talk about the work or think about it too much for lengthy periods of time because I begin to cry every time I think about it in too big of a segment of time. Many tears were shed during the creation of this artwork.

The installation is probably the biggest work of art that I’d ever attempted. I’ve been told that I try to put too many messages in to one painting many times, and this work is probably the epitome of that sort of thing. there was a lot going on. The work consists of 8 main panels, with the main images taking up two panels each. The panels are just stretcher bars with canvas attached, and they are connected with hinges. Each panel is approximately 3 feet wide x 6 feet tall, so the whole work, when all the panels are standing together is approximately 6 feet x 6 feet, and forms a sort of x if looked at from above. This is one of the few ‘installation’ works I ever attempted to create. I’ll try to add more images of this here in the future as I get more images uploaded to give a better idea of what it looks like from various angles.

Sorry if my rendering skills are not the greatest in the world. This work was created over the process of a semester in college, so I didn’t have an infinite amount of time to work on it. I could have reworked some of it later, but have chosen not to for a variety of reasons.

This work is a memorial installation that I created in honor of an uncle of mine that died due to leukemia several years ago. The reason, that our family believes, that he got leukemia was because he was a helicopter pilot for the United States Army, stationed in Germany, during the time that the radioactive clouds from the Chernobyl “accident” occurred. Around this time many chopper pilots, and other servicesmen in the air started getting symptoms very similar to those that he had… but, as usual the government denies that such a thing occurred.

At the time that I made this installation I was trying to cope with the fact that my little brother had just joined the airforce… and was attending basic training at the same airforce base that my Uncle David died in (It’s in San Antonio, Texas). It seemed to me to be a very bizzare and vile cycle that fate had taken to lead to such circumstances… The weekend that my parents, my sister, and I went to see Danny graduate from basic was very eerie, yet beautiful in a strange sort of way…

On the picture of the panel above, in the lower register of this image is a portrait of my father’s mother, father, brothers, and sisters. My Uncle Dave is the one circled in red. The reason for this is to make his image stand out in a way, and it also sort of implies very bluntly that he was a ‘target’.

The images in the top register are metaphoric symbols of man’s stupidity in creating violence through technology. The people in this register are rendered somewhat icon-like, as they have become mythological icons of our day for the horrors which they have created. The ‘heroes’ of this register are Truman, the Manhattan Project guys, and Hitler. They stand together triumphantly in an eeire background plotting the downfall of man. The middle register is a not-too-well rendered replica of the army identification tags that my Uncle used to wear. Each of the main images are painted copies of photos that meant a lot to me and my family. One of the small images in the top register is a copy of the final photograph my father had of my uncle’s family before he died. I remember when the photo was shot as if it was yesterday. My parents said ‘wave good by to Uncle Dave.’ Tears come to my eyes even to this day as I reflect on that phrase.

One of the ideas/themes with this work was to morph words and stories in to a message that played out like a drama for the viewer. https://jeffthomann.files.wordpress.com/2014/06/img_20140612_093150.jpg?w=949

Brothers & SistersBrothers & Sisters

Brothers & Sisters
Brothers and Sisters happily together at home, but who is this circled?

David, Brandon, Tammy, and Bethany


Uncle Dave, here’s two thumbs up pal!

This is the type of helicoptor that Uncle Dave piloted.

We will cherish you always for all that you have given.
Cherish You Always

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Cher

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E=MC Squared

Does E=mc squared always???

Why on earth is that the the case? Why can’t things be less scientific, less destiny driven…Why does death exist??? In the upper register, not even Albert Einstein, Mr. Zeplin, the Wright Brothers, or Henry Ford, the heroes of our time, can answer this question. Remember the Alamo!
Ford - Remember the Alamo


Zeplin with Baloons talking to Einstein



E equals mc squared not here here sisters!!!
Our technology is made only for our destruction… Logic makes no sense to us anymore. The greatest accomplishment of man is the destruction of his own. Our walls cannot protect us from ourselves. Our true heroes will sacrafice their all for vain political purposes that our real heroes, the ones that we put in our textbooks, have created for foolish worldly greed, jealously, deceit, and lies…

Brother's Not Well



Brother’s not well.

Fair Well
Fair Well

Fair And Nobyl
Fair And Nobyl

Chernobyl
Chernobyl

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In the green striped areas of the painting where the words are there are some photocopied and typed out excerpts from a book that came out about a year before I created the painting which had a lot of information about how Chernobyl was not really as much of an ‘accident’ as it was made to be at the time that it happened. These texts are embeded/collaged in the painting under a layer of stand oil and linseed oil. The book these texts were taken from documents where many areas where corners were cut in regards to safety measures being taken. These were documents that were top secret and not released until shortly before the time that that book came out and became public knowledge.

Chernobyl Secret Documents

Bottomless Self Portrait


Bottomless Self Portrait
Acrylic on Canvas
© Y2K, Jeff Thomann

This was an acrylic painting that I created when I was entering my ‘bottomless paintings’ phase. I was really interested in trying to figure out ways to create compositions that had no one right side up. I still get on that kick sometimes.

BHS

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BHS
Oil on Canvas
© 1999, Jeff Thomann
BHS is one image from a series of paintings I created for my BFA show back in College in 1999. It was based on a dream. BHS is the name of this since the background was sort of similar to a locker hallway in Boonville High School where I attended high school.

A few scans…

A few sketches and acrylic paintings I’ve started the last while. I don’t consider Drips an Acrylic Landscape done, but do consider Bottomless Landscape Done, and the pen and ink sketches are just doodles.

Live
Live

Drips
Drips

Bottomless Landscape
Bottomless Landscape

10.25.2011
10.25.2011

10.24.2011
10.24.2011

Acrylic Landscape
Acrylic Landscape

11.21.2011
11.21.2011

New goals…

I’ve been procrastinating on things a bit, but no more! I’ve decided that I want to start getting up at 4 AM instead of 5. Up til now I’ve been trying to get up at 5, but usually ended up going back to bed til 6 sometimes, or more often got up and just wasted time online on forums, etc. Going forwards, I want to change that… I have no idea if I’ll be able to do this or not but think if I can I’ll see some major improvement in my art, in my attitude, etc.

Goal is to do more art, do it in a way that suits me and gets things accomplished, and make time to live life a little too more than in the past. No more wasting time…

so… tentative schedule is…
Up at 4 AM. Do 3 pages of Morning Pages for The Artist’s Way/Journaling/diary type stuff… Then eat breakfast (probably a bowl of cereal, maybe fruit on occassion) In theory, that’ll take up til about 4:30 ish… maybe 4:40 or 4:20 sometimes?

4:30 AM – 5:00ish (maybe earlier depending on the above) do a 10-30 minute drawing… probably with ball point pen since it’s a speedy thing, but maybe other stuff like charcoal or color pencils sometimes?… maybe even graphite even though I hate the shine graphite produces. Number one reason I hate acrylic too unless lots of matte medium is used – also why I love oil paint and have decided on encaustic as painting medium of choice…

5:00 AM – 6:30ish = Work on 3d Modelling. I’ll probably do speed modeling for now… then go back and redo the fine details as needed later on. Maybe do a whole week of work without going back in to finish it up til the weekends?… I’ve been on Turbosquid for a very long time, so am at the level in there where you can get the keywords for free, so those keywords will be my subjects for these 3d models since that’s stuff that is known to sell, etc. I’ve been trying to copy/paste the keyword lists in to an open office file every morning, and will continue to do so and then will pick the subjects that interest me… I may sometimes stray from that and use my own ideas or keywords/topics, but there’s lots of ideas in there, so I think I’m going to focus on that a bit.

6:30 – Take a Shower, Make Lunch, Get ready for work, etc.

7:00ish – Head to work…

At work, walk with my Aunt on my morning and afternoon breaks (assuming I’m not on hold with blasted insurance companies when she takes a break)

11:00ish (my time for lunch varies) Eat Lunch and Read a page or two out of Drawing on the Right Side of the Brain or The Artist’s way… Maybe other books on kindle, etc. Possibly do a 5 minute doodle session at lunch, but probably not as there’s not really much time since I only have half an hour lunch.

After work – Start up the Encaustic heating up as soon as I get home… Maybe draw for a few minutes while it’s heating up and the wax is melting. Paint after it’s hot with the encaustic til Tekla gets home.

When Tekla gets home, we’ll head to the Arc to workout. This is something I’ve neglected doing way too long, and is really why my sugar’s not under better control at the moment, even if it’s not too hugely bad yet.

After that we’ll have supper, and enjoy the rest of whatever is left of the night spending time with one another and enjoying our time together.

Go to bed around 10 or so since that’ll give me 6 hours of sleep. If I can get myself off of caffeine, I think 6 hours of sleep is enough… Going to be hard to do, especially at work since it’s free there and they have a huge thing there that keeps 3 pots going all day every day… they usually have one pot of decaf, one of regular, and one double strong – I usually try to mix half decaf with regular but half of the time the decaf is gone… need to drink water more, coffee less… very difficult to do, but I think if I can and can excercise more, this crazy schedule might work…

encaustic

I’m over on http://encausticart.ning.com/ now as I’ve started to take up encaustic painting a little. Bought a wood burner yesterday to help out with that a bit. http://www.walnuthollow.com/23906creativeversa-tool.aspx Got it at Michaels. There’s a lot to it, but I think I love encaustic because it’s possible to do lots of layering, lots of reworking, and it has potential to be just as complex if not more so then oil painting but the stuff drys instantly so much can be done in a short amount of time.

I like the creative versa tool (link above) because it does the same that the enkaustikos pens do with the temperature control, but for about 1/3 the costs, and a lot less on shipping since we only live a block away from Michaels.

(I will probably get the Encaustikos Flow Pen someday though since I’ve not seen anything else like it on the market yet… but maybe not since it costs so much if you add in the cost of the temperature regulator — why don’t they just add the regulator to the pens like Walnut Hollow did with the versa tool?)

Galveston Harbor

Galveston Harbor, © Jeff Thomann, 2011
Galveston Harbor, © Jeff Thomann, 2011

Media: Watercolor Pencil, Color Pencil & China Marker

I still don’t think this image image is ‘done’ but it’s getting close to where I want it to be. I’ve reworked it many times. I’ve been technically working on it about 2 or 3 months, but most of that time I was just looking at it. Since I started The Artists Way again this week I’ve been working on it an hour or two every morning and night, every day.

I have no idea how many real working hours have been put in to it, but there’s been a lot. I’ll put multiple layers in, erase them out, scatch out highlights with a burnisher, add more color, erase out some with an electric eraser, add more color areas, rework, etc. The gesso in the foreground has probably lost most of it’s tooth, as has most of the ‘water’ area to the left, but I keep adding new marks to it all the time, so I may have another few hundred hours of work to put in to it before all is said and done?… I’ll probably move on to some other artwork for now so I don’t really overwork it beyond a point that I can’t fix it any further. The scan was taken without any fixative added. I hate how shiny color pencil glare causes an image to really get a lot darker looking in the scan then it is in reality. The image is based on a couple of photos that I’m putting together in to one image in the drawing. I’m trying to be careful to leave some of the white of the underlying gesso. Most of the cloud area is almost pure white from the gesso with very little color pencil. I probably need to rework the middle ground and the ship in the background a lot more, but maybe not since some atmospheric perspective isn’t necessarily a bad thing here.

8/2/2011 Rose Study © August, 2011 Jeff Thomann
8/2/2011 Rose Study #1 © August, 2011 Jeff Thomann

8/2/2011 Rose Study #2 © August, 2011 Jeff Thomann
8/2/2011 Rose Study #2 © August, 2011 Jeff Thomann

Sunrise @ Galveston Bay © 2011 Jeff Thomann

Sunrise @ Galveston Bay © 2011 Jeff Thomann

Sunrise @ Galveston Bay © 2011 Jeff Thomann
Media: Pastel, Watercolor Pencil, & Color Pencil on Gessoed Hardboard
Original Size: 5″ x 7″

 

working on folio

Slowly working on portfolio website (see link on right). This weekend I put together a few of the pages over there. So far the Charcoal and Ball Point Pen sections are starting to shape up.

I have not put together the other sections yet completely since those require shooting digital photos of my works. Not being the greatest photographer in the world doesn’t make getting the quality that I like out of the camera the easiest thing in the world. Also, it does not help much that I’m shooting outside when I do the shots, and it’s been fairly windy the last several days. The other day I shot some of my brother’s old artwork from highschool and the tripod fell over with the wind while I was swapping drawings with others in the house. The part of the camera that attaches to the tripod flew off of the camera when it hit the pavement. I luckily got it back together, but have not tried to attach it back to the tripod since then. Note to self – add weights of some sort to tripod the next time I try to use it.

The ball point pen drawings are mostly some of the mall small scans I took. I tried to limit it to about 30 or so images for each section. That way a nice little navigation bar table fits well in most browsers. It’s still a little too wide for the smallest screen settings, but I really don’t think most folks use the smallest screen settings usually. If so, sorry folks… I am trying to get this thing looking good, not optimized for your super low res screens… It’s tricky using the floating navigation bars I’m using because Internet Explorer is tricky. If you don’t put the dtd type up at the top of the html, it doesn’t float the css navbars where they belong, and just sticks them at the top of the page where they scroll with the rest of it.

It’s slowly coming together. I’ve been doing some cleaning around the house this weekend since we’ll likely be moving before too long… found a bunch of ol floppy disks and that reminded me that the last time I tried to put together an online web portfolio like this I was doing it on floppy and zip disks on Campus because it was like the year 2002 and I was using the free modem pool that the University of Missouri had back then… a whopping speed of 28k! No wonder I got frustrated and quit putting together the website last time, lol.

This time, things are coming together a lot smoother, and hopefully this blog will help make things work out a little better. I’ll add more to the website as I get more images put together and organized. I really like this click the image to get a bigger copy of it idea. I also like the floating nav bars with transparent backgrounds that makes it nice, clean, and easy to maneuver around in.

Got any pointers, tips, or ideas on how I can improve portfolio? Shoot away and give me some comments. I like listening to what people have to say. 🙂 😉

Various Times that I can remember being told to stop taking photographs, or stop doing something else artistic…

Various Times that I can remember being told to stop taking photographs, or stop doing something else artistic…

– New York City on Spring Break back in college. I was trying to photograph something in the Metropolitan Museum of Art and was told to not flash the camera. Apparently, there, you are allowed to take photos, just not with the flash on.

– Turbosquid. I had a photo of building on there. It had a car somewhere in the photo, taking up a very small portion of the picture plane. Ford sent Turbosquid a Cease and Desist Letter asking that it be taken down, and so they took it down and emailed me notifying me that that was done and why. Nowadays, I try to avoid anything with logos or trademarks on it if possible, or if I shoot them, I purposefully try to just hone in on some image that is not clearly apparent what the picture is of… for instance I might zoom in on spokes of the wheel hub but avoid taking a photo of the entire hub that shows the name of the company, or I might take photos of brick textures and avoid the name of the brick manufacturer, or just go for something natural that no one has the right to – like tree bark, cement, asphalt, grass, clouds, or similar textural type of things.

– behind Columbiana Apartments. I used to live at Columbiana Apartments in Columbia, Missouri, several years ago. It’s near Stephens’s Stables on Old 63, right next door to the BXR Radio Station. I took photos of some clouds out there sometimes, especially when crazy Spring weather came around. I was shooting some upside down tornado-like clouds one day (looked like twisters, but they were funnelling upwards instead of down towards the ground) and got told to stop shooting back there by a lady next door because she thought I was aiming the camera too close to the place back there, which was violating privacy. Apparently, there’s a homeless shelter back there. I didn’t know prior to that incident that that is what was housed in that building…

– Columbia Mall. I was taking some pictures of clouds. I love taking pictures there or in similar places, like overpasses, where there’s no trees in the immediate vicinity blocking the view to the sky. Some guy thought I was taking a photo of him and yelled at me as he drove by. I simply told him that it’s a digital camera and that I hit delete… He gave me the bird and yelled some obscenity before driving off. Kind of funny that someone would do that when the mall itself is constantly taking security pics of everything in the place. If I ever do get someone in a photo, I try to not put that online, or if I do, edit that person out unless I have permission because I don’t want to get hit with privacy lawsuits later.

– A few times people have seen me drawing in crowded locations, and came up asking me about it. Usually, when I used to draw people, such as in the mallsmall sketchbooks – mainly drawn on breaks in cafeterias, at the mall cafe court, or similar public locations, I did quick sketches so it was hard to tell who I was drawing and/or there was so few details, and I could quickly close the book. Usually, most people are actually happy to figure out I’m drawing them if they do put 2 and 2 together… admiration type of thing. I’ve never had someone tell me to directly to stop this sort of activity. However, it is a little embarassing if you do get caught red handed doing that sort of thing. I have not done this type of thing for several years now, but might get back in to it someday since my drawing skills have gone downhill lately due to lack of practice.

– Once back in college, I did a quick little “show” that was not publicly announced or advertised. I simply asked the Art Department for permission to put up an exhibit in one of the halls where there was room for that sort of stuff. When I put it up some people looked at me weirdly and talked about it at a distance as if I could not hear them. No one actually said don’t do that though.

It was very interesting seeing how people going between classes reacted. I didn’t put up a nameplate or anything explaining who did the work or the title. I just walked the halls on various occassions when it was up to see reactions.

It was a small series that I called “Work In Progress”, or WIP – it was a series of parts of a canvas stretcher. The first part was one board, the next part, two boards forming an L shape, the next side, 3 boards, and the last part 4 boards. It was colored with acrylic paint that I airbrushed on there. No actual canvas was on the stretchers. It was just the idea of putting together the stretcher, and the work involved in that that was the focus/theme of the work. I painted the first part a light blue, next part blue on first part of the L and faded in to red on the second part of the L with a nice transition… Third part that had 3 sides showing more of the fade, and start of orange, and 4th part showing full color spectrum with primary colors faded from one in to the other… the idea was sort of that the creating of a canvas is in and of itself a work of art. Some parts of that still exist. Other parts have been torn apart since I kept it at my parents house for storage, and dad found another use for some of the 2x4s in it without asking me if he could tear it apart first… 😦

Someday, I would not mind doing another progressive piece like that again.

Luckily, I didn’t offend anyone directly with WIP. About 2 weeks after I took that down, another art student put a painting up in the same location, and it irritated the someone enough that the painting got taken off of the wall and thrown in to a trash bin below the balacony walkway between the building that this hallway that was on the second floor of Baldwin hall, and the next building over. If I remember correctly, that was Kjell Hahn’s painting of a nun in a slightly erotic pose or something similar to that. It was rumored at the time that the janitor did it, but no one had any proof… (edit 6/25/2014 – edited the link to Kjell’s site above to an internet archive version. Kjell is on facebook if you need to contact him.).

The janitor of Baldwin hall made himself appear to be a bit grumpy at times, but I think honestly, he was just a quite guy… and he actually had a bit of an interest in the arts or else he would not have kept that job, being seen listening to some of the music from the music students and looking at some of the art from the art students.

Back then in the 1990s (things have changed now) Baldwin Hall was the main art building at Truman State University… The top floor was the art student’s realm. The second floor was the music student’s realm, and the first floor and basement were the theater department’s realm. Across the quad, Ophelia Parish is where the art gallery was, but most of OP was just a big storehouse that was never done. Since then, they’ve converted OP in to the main art building… Not sure if sculpture classes are there though. Sculpture used to be in a building all the way on the other side of the campus, across the street – probably a half mile walk or so down the road. It used to be a pain to carry portolios and art toolboxes from Baldwin to the other building and back, so I put a bookbag strap on my portolio, and another on my toolbox that carried my art supplies and walked all over the place with that… One of the biggest gripes I had about Truman when I left was that the art students didn’t have descent sized lockers anywhere, and could not really store art supplies in dorm rooms – at least not legally if they went 100% by the contract with the housing people… major pain for those of us that liked to make big works of art. Most of my painting back then were around 2-3 feet wide, One was actually 6′ x 6′, and some of my sculptures were similar lengths in size…
The last two years I was up there at Kirksville, I actually had to rent a storage shed out on the edge of town to store my stuff.

I highly doubt that storage problem has gotten any better since then, but for the amount of money that college kids give the school to live there, they should fix it someday… if nothing else, the school should get in to some sort of discount deal with the storage places in the area to get college kids a discount.

Can Art Change the World?

As Director of Digital Learning, I might just have the best job in the world. Take today as an example. At 10:00 a.m., I reviewed video for an online studio course about the materials and techniques of Willem de Kooning, Jackson Pollock, and Barnett Newman (among others) that my coworker Amy Horschak and I hope […] http://bit.ly/d14bAR

Genesis – The Golden

Genesis the Golden
Genesis – The Golden
Copyright 2010 by Jeff Thomann
Media: Color Pencil on Gessoed Hardboard
Original Status: Not for Sale at this time
Original Size: 5″x7″

scanning paintings.

I have not tried this yet on paintings that are larger than the width of my scanner, but I might give it a try.

http://www.susansavad.com/t_scan.html

It’d have to be cheaper than trying to get a professional camera studio together, trying to buy gigantic flatbed scanners, or taking paintings off of the stretchers to have some place like Kinkos scan them in their big roll scanners (cost of doing that is like 7 bucks just for getting a digital scan – no printing cost – tha’d be extra, and then I think only flimsy paper stuff works.. and I doubt they’d put charcoal type stuff in their scanner, but I could be wrong?)

On the other hand…
Some of the arguments against flatbed scanning mentioned over at http://photo.net/photography-lighting-equipment-techniques-forum/00Tl26 are pretty good ones…

Color Pallette… Color Blindness… When is a something done?

I have mentioned color pallette in a few postings already, but don’t think I’ve gone in to a lot of detail about my personal preferences in my own color uses, why I have those preferences, etc. so I figured it might be time to post a little bit about that here, even though most of the stuff that I’m uploading to the artfolio is not color yet – It’s mainly black and white or blue and white sketchbook scans for now, but I’ll get around to uploading the color works later, and at that time, it’ll be good to know a little about my use of color.

For those of you that don’t know this yet, I am partially color blind. Greens and Reds that are medium toned or darker tend to look alike to me, which appears to be the same color as a grey color (just black and white) tone of the same value. Luckily, I’m not fully color blind, or else this little issue would have a much more major impact on my artwork than it does now. Bright reds, and greens are very visible to me. It’s only the darker tones that are usually seen in shadows that make things a bit difficult for me.

Because of this, I have a tendency to drive myself towards pointillism type of styles, or similar types of styles that use visual color mixing instead of real color mixing, at least in this part of the color spectrum. That way, I can move in very close to the canvas, and look at what is going on with the color blobs up close and personal to try to resolve issues and create a plan of attack to figure out what move to make next in this chess game of creating art.

Eye strain headaches does come to me after a while of doing this sort of stuff, especially since I’m near sighted… because I’m constantly looking at different areas of the painting, or color drawings at a distance, and then up close, and then at a distance, and maybe upside down to check composition, etc. I did not even realize I needed glasses for my near-sightedness until after I graduated from college, but I really should have probably gotten glasses a very long time before that. My dad loves transitions lenses and got me hooked on using them since they keep me from having to constantly buy sunglasses only to lose them. However, the transition lenses do cause me problems when making art and viewing art sometimes since they put a dark tone on everything I see through them. Because of that, I have to take off my glasses to view things in museums, galleries, or as I paint sometimes so that I’m not making major color/tonal mistakes. That causes even more eye strain on occassion. I do like the transition lenses since my eyes are pretty sensitive to light, and they make staring at a computer all day at my 40 hour a week job more tolerable. However, I hate that they cause me to not be able to see a lot of true colors at a distance… All through school, I remember squinting a lot in painting classes and drawing classes. I just assumed that this was normal at the time since I had never thought to check with a vision specialist. I knew that I was color blind, and just sort of assumed that the squinting and headaches were a normal part of the process of creating art. I sometimes wonder how things would have been different if I had glasses way back in elementatry school….
Strangely, all of this does not have a huge impact on viewers of my work because a lot of artists use green to muddy down red and vice versa to get shadow colors and tones as they are on opposite ends of the color spectrum.

My favorite colors are somewhat bright and intense. As mentioned in another post, I love the color pallette that folks like Remington use, where there’s lots of vividness to the work and it sort of brings a positive cheery mood in to play.

I like mixing colors on the canvas itself visually more than a lot of other painters do. I do mix colors when I can but like using paint staight out of the bottle when possible so that it’s easier to come back to an area and re-work it or balance it out with similar colors on opposite ends of the canvas if I need to… Stuff that comes out of a bottle is usually mixed fairly closely to other stuff that comes out of a bottle that has the same label and is made by the same company. That makes it easier to not have a lot of worries about painting an area and then needing more of that same paint mix later, but not being able to find it because you cannot figure out the exact proportions of which paint you mixed to arrive at that color, especially when, like me, you are color blind so physicially mixing the paint is a very difficult chore. That label on the bottles of paint helps ease my mind in making decisions since I know that the green in that bottle is the same green that I got out of that bottle an hour ago. Pointillism type effects can be used to help mix and match just about any color that exists, at least at a certain distance.

My favorite oil paint colors are usually Cadmium Red (for bright bold red intensity), Crimson Red (for darker red tones and colors), Currealean Blue (for highlights that are in blue – lots of artists are afraid to use blue in highlights, which is a huge loss to their works), Cobalt Blue (for mid-intensity blues), Prussian Blue (for really deep dark blues), and occassionally a very bright yellow, and maybe something strange like violet, which can be very bright and noticible if applied thickly or almost unnoticible if applied thinly with the rest of the colors mentioned above, either scumbled on or put in to small dabs in small pointillism type fields of color on the canvas. I also use just about any other color out there that I can on occassion in small bits, but the colors listed above are the main ones that I usually end up utilizing the most. Most of my works usually end up heading toward red/blue side of the color spectrum because of that. There’s just something about Purple/Violet combinations or near-purple violet that is reached by visual color mixing that I really love – it’s a deep passionate, and dramatic color scheme.

I have a bad tendency to sometimes fall in to the elementary color trap that many artists fall in to on occasions, thinking of blue as dark/cool, red as bright/midrange, and orange for brighter areas than that, and yellows for highlights, instead of really looking at the way things are in reality and trying to match it as closely as possible – where all areas of the color spectrum exist in both bright and dark areas. I do try to balance out that fallacy, which is not always a true representation of reality when I can, but it’s usually a lengthy process since I try to put more and more color range in to both shadows and highlights as I proceed throughout a color pencil drawing or painting — many times I fail horribly and overwork the artwork. It’s hard to know when a work of art is “done.” There are defintitely “levels of doneness” as I like to think of them to any work of art…

Simple abstract forms with simple lines is the first level. The second level takes that and adds more tones or patterned areas to break up the light and dark more. The third level balances things out more and more, making the really complex patterns more worked out with brush stroke placement becoming one of the most important aspects of the work – a small line that’s the wrong color in the wrong place can unbalance everything and cause compositional balance to completely dissappear. Then, on the next level, things really start getting complex… as Professor Bohac used to say, that’s when it’s time for an artist to “fight their way out of a paper bag…” because a simple little thing that’s as wide as a centimeter or smaller can unbalance the entire work…. and as paintings start coming to a level of “reality” that is almost near photo-quality things get even more complex, and the “living elements” of the work start dissappearing more and more… The more realistic a painting gets to be, in terms of photo-realism, the less gestural qualities the work has… Artists, especially those that work with narrative, portrait, or landscape subjects can find themselves in hard to get out of places with their works as they get in to internal conflict about “how realistic” to make the work… since each level of realism requires more work on the entire canvas…

A simple line drawing done in 30 seconds or less can be thought of as a final work of beautiful art just as a photo-realistic painting that took thousands of hours to create can… Any and Everything in between these two extremes is where most artist live. It’s a very dangerous rocky terrain with a lot of smooth valleys full of beautiful smelling flowers. It takes a true artist to know how to balance it all out and make sure that the level of realism is right for the work in question, and each individual area of each work’s composition in question. There’s a different answer for each artists and each individual work.

As I post more artworks in to this blog, I’ll try to explain my own individual tendencies, techniques, and ways of doing things to get my works to where I want them. It is often said that an artist is his/her own most critical judge. I agree with that somewhat. However, that judgement is what makes us who we are, and makes us strive to do better in the future, or to strive to make horrible and hideously disgusting works that cause fear in the hearts of mankind…. It’s all about figuring things out and making them work… knowing the messages you are trying to communicate and trying to find ways to make those messages clear. For me compositional balance is a very important thing. For others, maybe not so much. I’ll try to post more artwork here in the blog later this week.

Inspirations – Anselm Kiefer

Another couple of great and inspiring works that I found at the Modern Museum of Art in Fort Worth, Texas were Anselm Kiefer’s Book with Wings


Book with Wings by Anselm Kiefer

, and Die Aschenblume.
Die Aschenblume by Anselm Kiefer

I have always been a fan of Kiefer’s works. The first work that I ever saw of his is located in the St. Louis Museum of Art, Breaking of the Vessels.

Breaking of the Vessels by Anselm Kiefer

Kiefer’s work is gigantic, and epic, but also sublime and simple. It questions history, and our place in it. It takes Germanic Expressionism to a whole new level. It brings the painting/sculptures to the people, quite literally… It calls to mind the supernatural and makes us think about why it is, what our relationship is with it. It makes us question our reality and opens our minds to thinking about things more. I could write tons about the psychology behind Kiefer’s works, but think many great authors have already done so over and over, so I’ll leave you to explore their ideas on your own time.

Kiefer’s works are something that you need to experience in person. The hugeness of the works, and strange physicality to the works is something that digital photos and art books do absolutely no justice to.

Anselm Kiefer is a master of mixing physical things in to his paint and integrating sculpture in to his painterly works. Frank Stella is the only artist I know of that has works that combine 2d and 3d elements in such strange combinations that they start to come close to the mastery that Kiefer has over this realm. However, Stella’s works are typically pretty happy colors from the pretty happy rainbows that the pop world embraces while Kiefer’s is made of the mud-like dreary colors that are true dramatic tragedies that explore the psychological world a heck of a lot more in-depth than Stella’s simple facades ever can.

I’d love to do artwork the size of Anselm Kiefer’s most popular works, but don’t because the sheer enormity of such works make storage a gigantic problem unless the works are going directly in to museums and galleries. Taking photos of the works is also problematic because of the huge size. A photo just does not do these sort of works any justice since there is so much more to the works than a simple photo can capture.