Table from the BFA Exhibition © 1999 Jeff Thomann
Media: Oil Painting
Artist’s Statement: http://jeffthomann.cwahi.net/artfolio/BFA2.shtml#1
Cafepress Shop based on this artwork: http://www.cafepress.com/tablebyjeff
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.
1. Creativity is the natural order of life. Life is energy, pure creative energy.
2. There is an underlying, in-dwelling creative force infusing all of life — including ourselves.
3. When we open oursleves to our creativity, we open ourselves to The Creator’s creativity within us and our lives.
4. We are, ourselves, creations. And we, in turn, are meant to continue creativity by being creative ourselves.
5. Creativity is God’s gift to us. Using our creativity is our gift back to God.
6. The refusal to be creative is self-will and is conter to our true nature.
7. When we open ourselves to exploring our creativity, we open ourselves to God: good orderly direction
8. As we open our creative channel to The Creator, many gentle but powerful changes are to be expected.
9. It is safe to open ourselves up to greater and greater creativity.
10. Our creative dreams and yearnings come from a divine source. As we move toward our dreams, we move toward our divinity.
1. I am a channel for God’s creativity, and my work comes to good.
2. My dreams come from God and God has the power to accomplish them.
3. As I create and listen, I will be led.
4. Creativity is The Creator’s will for me.
5. My creativity heals myself and others.
6. I am allwed to nurture my artist.
7. Through the use of a few simple tools, my creativity will flourish.
8. Through the use of my creativity, I serve God.
9. My creativity always leads me to truth and love.
10. My creativity leads me to forgiveness and self-forgiveness.
11. There is a divine plan of goodness for my work.
12. There is a divine plan of goodness for my work.
13. As I listen to the creator within, I am led.
14. As I lisetn to my creativity I am led to my creator.
15. I am willing to create.
16. I am willing to learn to let myself create.
17. I am willing to let God create through me.
18. I am willing to be of service through my creativity.
19. I am willing to experience my creative energy.
20. I am willing to use my creative talents.
5 basic skills of drawing (from The New Drawing on the Right Side of the Brain by Betty Edwards)
1. The perception of edges
2. The perception of spaces
3. The perception of relationships
4. The perception of lights and shadows
5. the perception o fthe whole, or gestalt
6 and 7 are for Art with a capital A.
6. drawing from memory
7. drawing from imagination
In order to gain access to the subdominant visual, perceptual R-mode of the brain, it is necessary to present the brain with a job that the verbal, analytical L-mode will turn down!
shit nitty pops
shin -n-nine eh pops?
This right here is why
lyrics cannot be done
without some notation…
notation that’s in rotation…
Sin -n- Nine
Sign and wine
Shit and Knit A Pop.
Poems are visual.
Sounds are Lyrical.
Both can be hysterical.
Both can be read wrong
Both can have more than one meaning.
Welcome to the world of the artsy fartsy.
Here we shit and knit a pop
as we bebop
Shine and wine
We dine and wine and whine and shine
Studying Sine and why it’s different
then a nine.
must still be on attack
this Cinco de Mayo
Fives and Fives are not nines…
But they might just be a part of sine
Is the sin a winning?
Maybe it’s whining…
or it’s wining and a dining?
Tomorrow there’s half a moon
no crescent any more… at least a night…
Maybe Cheshire is whining while logic is dining
and it’s a dying, at least for a night, odd delight…?
It’s no wonder rock stars repeat, and repeat, and rinse and repeat again.
Logic is low jack and there’s no mo jack. Brain’s a burning and a spurning.
fighting with yourself is hard to do.
You know you are right…
and wrong too…
It’s a fire in the spire
the wheels are a turning
Flash of brilliance.gone in a minute.
Forgotten and long lost.
That’s why you got to WRITE IT DOWN!
Do it now… you crazy clown.
A bunch of junk that you do thunk
but most gets tossed aside
that is art. Welcome to the far side.
It’s a bit bumpy and a bit lumpy…
It’s that leftover goo
flowing from you that most would like to see.
interesting gel, colorful hell,
maybe a joyous yell.
Dammo in the Jammo
Jibber and a Jabber
What’s going on?
Jinx and the Jonx
conspired a song
a bit of a sock hop
if you will in the
crazy beautiful hills.
through and through
Rock did roll on-and-on
all through the night
and in to the day.
as he talked
on and on – and onandon.
Bab-y-lon did Jah-ba-on.
Jabber on and on –
and on and on
Crazy Arma did get it on.
gooving and a tubin.
They jabbered on and on
and on and on…
but not really…
(Sally from the valley)
and the groove went on
and on. Near the Warm bonfire
they did chatter and a clatter.
Stay tuned for more
after this commercial break.
bzzz bzzzz bzzzz
nEurons in ACTION!
Happy Cinco de Mayo.
I’m going to try to get organized in my life again. I’ve created a daily spreadsheet that I will try to write too and check off as I go along that lists all the stuff I should be doing daily. Included in the list are
– walking the dog in the morning
– walking on morning break
– inhaling lunch and doing something creative during the last part of lunch breaks
– walking on afternoon breaks
– walking the dog in the afternoon after work – maybe ride a bike with the dog if I don’t walk him… possibly working up to 5 miles on the MKT trail someday?…
– working out for at least half an hour nightly either at the YMCA, with a workout video, on the wii, riding a bike, on a jump rope, or doing some other form of excercise for at least half an hour
– working on updating online places – this blog, turbosquid, entropia universe stuff, entropiaforum stuff, and whatever else needs to be updated…
– doing at least one chore a night (one chore is something like a load of laundry, mowing, working on organizing the basement, working on organizing the attic, dusting, cleaning one room of the house, working on a 3d project, working on a 2d project)
I like doing little organized excel or google document spreadsheets like this to keep myself organized. I used to do this sort of thing for 24 hour schedule back in college and a couple of years after that, when I was still in shape, healthy, and had a lot of ambitions… Well, it’s time to get my ambitions and goals set again, and not just continue to let myself be an out-of-shape old man… Time to be young, healthy, wealthy, and wise again…
Time to actually stop being a lazy bum with no direction in my life. The time has come, today is the first day in the rest of my life… an organized, orderly, and fulfilling life. A life full of vigor and life. A life worth living to the fullest!
I love keeping the shavings off pencils as I sharpen them. Sometimes there is just enough color or graphite left to allow for one or two more uses of the leftovers on there that might come in handy someday. Additionally, the shavings are handy for doing interesting things such as creating brush strokes with paint that would be impossible to create with normal brushes, blending color on paintings or drawings by using the shavings as blending stumps, or they can be useful to just have around, sitting in a plastic bottle or jar to look at for inspiration since they various colors and shapes can sometimes give me compositional ideas.
Similarly, I love keeping paint covered palletes and clothing that I’ve used over the years. The splatters on the clothing of various material, whether it’s plaster, paint, tar, or something else mix to create interesting forms and shapes. I think Jim Dine used to keep his studio clothing as seperate pieces of artwork in and of themselves. This is a very good idea. The various materials I see on the various pieces of clothing that I’ve coated with artistic make me think about what was done to create each splatter, and shape, and form. Lately, for palletes, I use paper or stryofoam plates since my latest easel is made to hold those – that makes it a lot easier to keep the pallettes after the painting is done than it used to be when the palletes were expensive items that I typically ended up damaging as I tried to clean them off. It’s a memory jarring thing for us artists. My wife just calls me a pack rat, lol. I might take some digital photos or scans of some pallets and painted clothing sometimes, and create digital works from that. That’s what’s very nice about art – you can recycle ideas, shapes and forms, or elements of various artwork over and over… Infinite possibilities…
I also like keeping old paint brushes. The shapes they can create are likely unique. The same applies to any art instrument or some non-art instruments that can be converted in to art instruments. I love using various items as paint brushes sometimes… Some of the various items I’ve used in the past as a paint brush or brush to apply ink to paper or canvas are tooth picks, old tooth brushes (only use my own for that though so I don’t get a lot of other folks germs, lol), pieces of fabric, sculpey, thumbtacks, branches off of pine trees, pine cones, feathers, blades of grass, nails, screws, and broken light bulbs just to name a few.
I also like to keep a few oddball items around just to play with or to get ideas from… I don’t smoke, but keep a ciggarette lighter in my drawing toolbox sometimes – burnt edges on paper can look neat. I also keep a small handheld mirror or two as well as a full length mirror in the studio to play around with. Knives can be useful for digging layers off of paintings too… or just be neat to look at and draw…
I have one really wicked looking hunting knife in my drawing box that I used to keep in there for protection purposes, not that I ever had to use it. You never know who might come up to you and start bothering you if you are an artist out in the wilderness somewhere at a park or something and are trying to do a pein air painting… I don’t condone violence, but I hear about rapes, murders, and theft in the news way to often to just be out there in the woods by myself on the side of a hiking trail to not have some sort of protection nearby, even if it is just an old cell phone that can be used to call 911.
They say that any cell phone has to legally be allowed to call 911 regardless of whether you still have service on it or not – might not hurt to keep one in your drawing toolbox, basket, book bag, or whatever you use carry around with you to hold your brushes, pencils, or sketchbooks, especially if you are female. In the worst case scenario it could save your life. In the best case scenario it can be useful to call your spouse or significant other to come and pick you up, or to call for a pizza delivery or something. Most cell phones these days have cameras on them – so that is a useful art tool in and of itself, and makes carrying one around with you at all times something you should really think about doing if you are not already.
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.