Monsters in our land
Clinton play to pay is illegal. See her emails.
Once only in a horror movie have become a natural occurrence in our land. Monsters and hidden faces, all behind what I thought was meant to do me good. No longer. The criteria and objectives of those with power are quickly taking so much from us. Politicians, GMO’s in our food, Corporations and groups becoming our voice verses us having our own individual voice. This video though organic in execution has a powerful message for all. Calling for us to wake and see what is going on around us in our country, then ask for quality change.
Please listen, watch and share with those you feel are longing for good change, before it is too late.
Monsters: Food-Eat, 4 feet x 4 feet, oil on panel
I colored outside the lines on this Music Video my friends. Maybe one of you can help me crystalize the message even further.
Stand for something, or stand for nothing at all. I see a lot of injustices in our world. This painting, Food – Eat is part of my Pareidolia series of oil paintings. I want to bring attention to what the food industry has been serving up to us for years. Hurting us all with GMO’s, chemicals, drugs, GMO’s, fast food, food without nutrition and food that they don’t have to tell us where it came from, all to make a buck.
Yes we are partly to blame. We keep eating it. If we keep accepting garbage, they will keep serving it to us. While charging us nicely. I have personally gotten myself very sick from many foods meant to do me well that have been hurting my health.
As in real life, there are many faces we do not see that our behind these injustices. As there are many hidden faces, beasts and monsters in my painting with a nice piece of cake. Come eat.
Let’s stand together and contribute to a world we can all enjoy and leave as a legacy to our children’s children.
There is so much coming at us each day. When you look do really see what is before you or just what you want to see. What you think is there and move on. I am hoping my Pareidolia Paintings help you to understand that there is much much more than we initially observe. Look deeper and allow your mind to assemble many hidden images, large and small.
A trip to the sea may be pleasant or unravel all of your hidden fears and horror to find your heart pounding, mind racing while feeling all alone. It is only you who can change your fate. Maneuver your destiny or at least give it a better shot. If you’re just following along you will be lost, even left behind. Stop just existing. Do something.
I hear more about things, things, and more things. Let us all try to enrich our life, culture and those around us with good conversations. Think for our self. Believe in something. Do something selfless. Honor the law of doing good. Develop rich family customs that bring with them good memories. Learn to appreciate art. Choose habits that others would be delighted to follow. Leave something positive for the next generation. Let us all get back into the act of living. Then see the great outcome this has on our society.
We walk into a dimly lit room and see a figure staring back at us, Pareidolia. Startled we recognize it is only a coat peculiarly lying on a chair. What was that? What just happened?
Could it be our minds playing with us? A mind that quickly assembles and recognizes face-like image where there is none. It may not be our imagination but part of our early survival instincts software that has aided us in recognizing other living forms. Could this be heightened in some humans more than others? Do some find it disturbing? Or do we all have it? Is it cool when we recognize it? Then quickly want to share with others.
Pareidolia painting incorporates perceived images that do not exist. Like seeing a face in a cloud. A Pareidolia experience is where you may perceive an image of animals, faces or objects in cloud formations, a knotty piece of wood, a marbled tile, stains, inkblots and other forms.
Leonardo da Vinci explained in his notebook that it was a device for painters to explore. Where we can see an infinite number of things that can be reduced into separate and well-conceived forms.
I enjoy drawing from my mind. Demonstrating where the perceived and conceived collide. Painting a depiction of two parallel universes. One being a visual reality of what I think is before us combined with the second filled with perceptions, reflections, and experiences in the mind.
Please visit my Gallery, The Creative Underground and enjoy viewing my demonstrations of a “Pareidolia Experience” Exhibition.
I have enjoyed getting to know a fantastic oil painter that I admire. His philosophy on life and painting will make you search deeper when starting your next painting or refreshing an old painting. We will be able to take a painting to a new level making it more enjoyable. Not having to take the same path each time you approach the canvas. We will be opening a new chapter in the book of fine arts oil painters.
See other artist interviews here: http://ducreativeunderground.com
If you graduated with me from Avon Lake High School, in Avon Lake, Ohio, you may not remember this gentleman. Even if you went to the school you probably would not see him unless you took an art class. Then be lucky enough to draw him as your instructor. If you played basketball you probably did not notice him behind the table keeping score, year after year.
His name was Norman Schnepf, my art teacher. Probably my most influential art instructor. He was quiet. He would offer up suggestions only if you asked him for his guidance. I asked, and he provided my aching art heart creative food for thought. If it was not for his direction back then I would no doubt be as far along as I am today.
In his class he taught me about design. He loved abstraction and was eager to share his insights to an open mind. We could explore many tools, and this is where I first came in contact with the painting knife, my primary painting tool today. I am just beginning to turn the corner and returning to some abstract painting.
After I went to my first year of art school I returned to his class to share what I learned. One student did follow me to my college. Years later I thought of him. When I Googled his name I was sorry to learn that he had past. I had wanted to thank him again for the foundation he had helped me lay in painting.
Gave myself time to complete my desk. Enjoy the metal theme used throughout the gallery. Had fun building the desk as I did building the gallery. Hope you will give me a call and drop in for a visit, now that it is finally completed.
Played with the Happy Grandpa painting I showed earlier in a previous post. It seemed to lack some of the emotion and spark I originally intended for the painting. I wanted the yellow flower she was reaching for to be more apparent but not so polarizing being close to the center of the canvas.
Still concentrating on softening some edges and sharpening other edges in the painting. The colors seemed a little dark, so I lightened them up with blues, blue-greens and blue-purples hues to compliment the yellow. Yellow paintings seem to be a draw for me. Yellow I find to be the most complicated color to paint with. It really needs to be managed well. This revision seemed to match my original intent for the painting.
In developing a plein air painting you have many varied options. I choose the path of developing the plein air sketch with as much passion as I could master along with being sensitive to observed color and the visual lost and found edges that disappeared into the shadow regions. The study was completed in Richmond Indiana.
Having a second attempt back in my studio, The Creative Underground, I was able to continue my path. Things I found important where to lessen any obvious drawing problems. Provide more space around the image for proper framing. Keep the gusto of the paint application similar to the study. Add a figure to provide a Marine Outlet mechanic while hosting that beautiful orange segment and texture towards the middle of the canvas.
When you enlarge a painting from 9 x 12 to 18 x 24 you can see that the texture is not as obvious in the larger final as it was in the smaller study. I could have kept this more similar by using a larger painting knife but chose instead to focus on texture detailing in the painting.
I loved the curved rusted shapes of the building and its design contrasting the old car that seemed to be parked beside the building and resting for a long time. These lost but not forgotten items once a big part of our lives seem to always catch my interest.
Then how much did I really need to say to depict this situation in the final painting? I chose to leave out absolutely as much detailed information as I could. Including only what was itself necessary in telling the story. You can see by the car and the man that so much was left out upon studying and what where the essentials to tell the story. Even a rough swoosh of paint to represent an arm and hand for the gentleman.