This is the backside of a dumpster that has been worn down over time. It looks like the patterns on where the paint has been removed has happened due to rubbing against the collection truck as it is emptied. I find the swirly patterns to be rather interesting.
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.
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 & Sisters
Brothers and Sisters happily together at home, but who is this circled?
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.
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!
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.
Fair And Nobyl
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.
Just made a light box today. Had several 11″x7″ hard board sheets that I was originally going to use to draw on or paint on. Still have many of those for that but 5 less now because they are now my new light box… amazing what duct tape, hard board, and an old light off of a broken drawing desk, and a sheet of old plexi glass from many years ago can do when used together. 😉
Ended up taking the sharp edge of one of my many chisels since I used it as a plexi-glass cutter. It worked well though and I have plenty of other chisels. Hopefully the 60w lamp won’t melt the plexi. As long as I don’t make my sessions using it super long I don’t think that’ll be a problem. If it is, plexi is easy to replace. I probably should be using glass instead of plexi but since I’m planning on using a lot of pointillism techniques that will require a lot of banging a pencil against it I figure plexi is better since it’ll hold up where glass would just break. Thinking about using crayon/color pencils on this and then using that as carbon paper sort of to transfer the image on to the boards as base layer/underpainting for the encaustic panels, burnishing the back of the paper as it lays on the encaustic, etc. I tried testing a little today with a transfer bit on my wood burner but that didn’t work at all since the heat was too hot and caused the wax to actually melt in to the paper, so got to do this cool on cool, no heat applied. In theory it should work, somewhat. Still not sure if the encaustic and color pencil waxes will merge/melt together well but in theory they should I think. I think wax pencils have a parraffin type wax in them. If it doesn’t work well I may have to use crayons/wax pencils instead of the color pencils. Not sure I like that idea though since I want pigment in this and most crayons have way more wax than pigment. Color pencils are more leaning the other way a bit.
I made the light box since I think it’ll be easier process of photo to paint surface transfer that will work better than the crazy poke holes in pictures technique and pounce afterwards that I was planning on using. Still may use that sometimes, but it’s a really non-drawing type of thing so I’m not sure it suits my style/technique so well.
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.