STUDIO: A New Painting in Progress, Part 4: In the Belly (Not All Accidents Are Happy Ones)

Work in Progress: In the Belly 

 

I am currently at work on my latest large scale piece-large for me being in this case 30″ x 40″. In my first post, I showed the first crude underpainting. In the second post, I started making additional drawing decisions. In the third post, I started bringing out suggestions of the original vision-the whale not just as an animal, but as a gilded cage of chaos.

The painting is coming along well (see above). But working as an intuitive artist, obstacles arise which could not be foreseen. I am presented an image in my mind; they come to me in a flash, complete. It becomes my task to translate that vision into a form that can be shared, filtered through my individual artistic personality. I paint my works directly onto the canvas, without preparatory drawings, all the better to take advantage of sudden discoveries and inspirations.

However, in art as in life, there are problems that come along with the opportunities.

Pablo Picasso, that human kaleidoscope, explained something like the dilemma I recently faced in my painting, when he talked about a visit he made to his Cubist colleague, Georges Braque.

 

“I remember one evening I arrived at Braque’s studio. He was working on a large oval still life with a package of tobacco, a pipe, and all the usual paraphernalia of Cubism. I looked at it, drew back and said, ‘My poor friend, this is dreadful. I see a squirrel in your canvas.’ Braque said, ‘That’s not possible.’ I said, ‘Yes, I know, it’s paranoiac vision, but it so happens that I see a squirrel. That canvas is made to be a painting, not an optical illusion. Since people need to see something in it, you want them to see a package of tobacco, a pipe, and the other things you’re putting in. But for God’s sake, get rid of that squirrel.’

Braque stepped back a few feet and looked carefully and sure enough, he too saw the squirrel, because that kind of paranoiac vision is extremely communicable. Day after day Braque fought that squirrel. He changed the structure, the light, the composition, but the squirrel always came back, because once it was in our minds it was almost impossible to get it out. However different the forms became, the squirrel somehow always managed to return. Finally, after eight or ten days, Braque was able to turn the trick and the canvas again became a package of tobacco, a pipe, a deck of cards, and above all a Cubist painting.”

 

He Was Only 5’3″

Braque and Picasso Get Squirrelly 

So, in the process of trying to evoke a painting experience, something unbidden had worked its way onto Braque’s canvas. Or maybe Picasso was just messing with him. I wouldn’t put it past him.

But recently I had a similar misstep while working on In the Belly.

My wife, artist Michele Bledsoe, and I were working in the studio. She noticed I suddenly started raving and muttering at my painting; lost as I was in the moment, I didn’t even realize I was talking out loud.

What was the problem? While I was trying to render where my whale’s fin attached to his body, I was horrified to see an equally horrified emoji had appeared on my canvas (outlined in red, below).

Is There An Emoji For The Scream of a Lost Soul? 

This could not stand. Mumbling about “wiping that look off your face,” I attacked the problem area with more marks and shading.

When I stepped back, I saw that I had succeeded…succeeded in giving the unwanted face eyebrows and a hat.

Facing the Problem

Needless to say, I had to cover over this whole area, and start again. It happens with the methods I use. As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

“I vanish while my paintings get applied to the canvas. I have the continuous experience of stepping back from the work to see it, and it’s like I’m stepping out of a trance. I’m constantly surprised by what I see has appeared on the painting, because I have no memory of doing it. Turning myself over to this receptive state allows something beyond my own capacities to take over. My best achievements are works done through me, rather than by me.”

The point of this post is, although I have the upmost respect for The Muse, sometimes she’s got a strange sense of humor. I’ve learned to laugh, enjoy the message, and move on.

 

Previous articles:

STUDIO: A New Painting in Progress, Part 1: In the Belly

STUDIO: A New Painting in Progress, Part 2: In the Belly

STUDIO: A New Painting in Progress, Part 3: In the Belly

 

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a paintingPlease send any inquiries to info@remodernamerica.com. Thank you!

STUDIO: A New Painting in Progress, Part 3: In the Belly

In the Belly: 

Colors Developing 

.

I am currently at work on my latest large scale piece-large for me being in this case 30″ x 40″. In my first post, I showed the first crude underpainting. In the second post, I started making additional drawing decisions.

I ended up rejecting some of the drawing elements shown last time. The figure was all wrong. I covered it over with a skein of gold.

And that’s when things started to go strange.

Because I never intended this to be a realistic depiction of a whale. The vision I had showed me Jonah not inside a sea mammal, but in a gilded cage of chaos. I rendered the figure again in a more dynamic pose-from the fetal position, to a more reaching out posture, limbs akimbo. This change is philosophically meaningful. It’s exciting to figure it out as I work. The painting tells me about myself, and my own mental, emotional and spiritual states.

As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:

“Remodernism is the return of art as a revelation. We are showing particular things about ourselves that can also be universally recognized. Our art symbolically represents flawed, searching humanity participating in birth, existence, growth, and death. It is mysterious and moving, comic and tragic, clumsy and elegant. Remodernism is a celebration of the beauty and weirdness of the life God has granted us.”

 

This painting is taking a hallucinatory turn. Watch this space for future updates!

Take a Trip 

 

Previous articles:

STUDIO: A New Painting in Progress, Part 1: In the Belly

STUDIO: A New Painting in Progress, Part 2: In the Belly

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a paintingPlease send any inquiries to info@remodernamerica.com. Thank you!

STUDIO: A New Painting in Progress, Part 2: In the Belly

In the Belly

Evolving Imagery

I am currently at work on my latest large scale piece-large for me being in this case 30″ x 40″. In my previous post, I showed the first crude underpainting for a piece that I will be working on for the next several months.

These images show the progression.

Even though my paintings originate in inspirational visions, where I am shown what the imagery needs to be, it’s up to me to make that image appear through painterly technique. It’s hard to translate the subtlety of thought into tangible forms. But that is the fun and challenge of being an intuitive painter.

I don’t make preparatory drawings to figure out compositions. I paint the picture directly out onto the canvas. My process involves lots of editings and revisions along the way.

Having Jonah in there is vital to this work. This is how I put him in initially.  The painting has changed greatly from these early stages.

 

As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization: 

Making a painting becomes more than just a matter of how to represent something. It symbolizes the artist’s engagement with life. We want so much to make an image that says, “This is who I am, and this is what I saw.”

When we do it right, everyone who sees it will find that image inside themselves as well. It becomes a moment we share, and which can be visited over and over, with new understandings always unfolding. This is the power of art.

Ultimately a painter doesn’t replicate the real world, but creates a world in the painting that exists nowhere else. There are no limits for a painter; every decision in the work can be freely made to best suit the desired result.

Watch this space for further updates!

 

Previous article:

STUDIO: A New Painting in Progress, Part 1: In the Belly

 

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a paintingPlease send any inquiries to info@remodernamerica.com. Thank you!

The Ace of Spades HQ Mid-Morning Art Thread is Fighting the Culture War

 

Art is for Morons at AoSHQ 

Art

Long before a certain drunken would-be tyrant segregated huge segments of Americans into a basket of Deplorables, some brave souls had already self-identified as a Moron Horde.

This endearment refers to the proud followers of the mighty  Ace of Spades HQ blog.  It’s a site I visit multiple times daily, eager for the latest sardonic commentary on the news of the day. The humor there is biting, the wit caustic, the tone irreverent. Ace is a nice counterbalance for all the serious yet prim hot takes offered throughout so many other sites of the conservative blogosphere. Because despite it’s studiously immature style, the analysis on Ace is sharp and illuminating. Its consistent disrespect towards pretentious elites is a fine old American tradition, and is especially needed these days, as we enter a new phase of the existential struggle for the future of this nation.

As an artist, a regular feature of Ace caught my attention. It’s called the Mid-Morning Art Thread. Usually on weekday mornings, after an effective aggregate of the daily news arranged by moderator J.J. Sefton, another moderator, CBD, posts an image of a work of art to start a new thread. (CBD stands for “Charlie Brown’s Dildo.” That’s a mental image I work very hard to resist.)

A great range of works have been displayed, from Old Masters to art of this century, and everything in between. Occasionally a contributor named Kris will add some intelligent art historical analysis of the piece. The self proclaimed Morons are free then to comment, though it is requested the first 100 comments stay on the art topic at hand. Once a new thread gets started later in the day, comments are closed for the Art thread, so time is short. Being Ace, the commentators don’t hold back.

The art works offered up inspire snap judgments, a whole range of reactions: praise, abuse, informed anecdotes, puns, limericks, lewdness, inside jokes and pop culture references all appear in rapid fire succession. It’s endlessly entertaining. But I feel there’s something important happening here, mixed in with the calls for “more bewbs” and warnings about where snipers might be concealed in the artistic scenery.

I’ve written before about how the Postmodern establishment is working hard to exterminate the experience of real art from our culture. They believe, correctly, that losing art will undermine our society, and make us easier to control. They have been hugely successful.

For example: Quick, name your favorite living American artist.

If you are like most people I’ve met from outside the art bubble, you can’t do it. You don’t have one. Elitist mismanagement has marginalized the arts in the West, and caused a crisis of relevance. We have not lost art, it has been stolen from us.

Part of this theft is to cut us off from our artistic heritage, the art of more creatively accomplished ages not degraded by the Postmodern disease. Per the latest corrupt Ivy League agenda, the soaring achievements of the past are now nothing but grist for the grievance mill, yet another field to be choked out by Wokeness.

Another part of the stealing of art has been accomplished by over-intellectualizing it. The assumptions of academia have indoctrinated us all into the “correct” ways to think about art. This pedantic approach is used as a weapon to convince people art is not for them, just because they don’t “get” the pieces of politicized crap our cultural institutions have inflicted on us as surrogates for real art.

The Mid-Morning Art Thread is a remedy to that totalitarian snobbery. It gives us a straightforward presentation of our legacy, offered up freely to the public for their insights, appreciation or rejection, no Yale stamp of approval needed.

People don’t need to “get” real art; you experience it. It’s a visceral reaction, open to everyone. Honestly it’s probably impossible to put into words just why it makes you feel the way you do, but you know it when you see it. The more you see of it, the richer your life becomes.

The elites want you to live in spiritual poverty. By consistently putting artworks in front of an audience that might not have realized how art is vital to their human development, the Ace Mid-Morning Art Thread is creating wealth beyond measure. These sarcastic Moron pundits are doing their part to carry on the glory of Western Civilization, at the same time our ruling classes are doing their worst to try to bring it down.

As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization: 

Postmodernism has been a Trojan horse for the same old power games that have kept humanity at bay for eons. Postmodernism is a betrayal of America’s ideals and accomplishments; Postmodernism has caused much damage acting treacherously from inside our own cultural institutions.

The elites had a great vision for America. They would wreck our culture and trash our heritage, and be the managers over our decline. They’ve been implementing their program for at least 100 years. However, in their long march through the institutions, they overlooked part of what makes America unique. We aren’t compelled to follow our “leaders.” We definitely aren’t going to follow them off a cliff.

Many compare the United States to earlier empires that declined and fell. The familiar pattern is happening here and now. Elitist mismanagement and ennui is encouraging social breakdowns. History demonstrates it’s only a matter of time until the barbarians overrun their dominion. The existing society will be overthrown by primitives from outside the complex system of assumptions and niceties cherished by the ruling class.

The great news is, here in the United States, we are our own barbarians. Understand the current upper echelons are predominately not representative of the American way of life. They’ve been compromised by Postmodern delusions about their own omnipotence, and it’s ruined them. They should have studied Classical literature. It clearly warns about the perils of hubris.

To these upper crust pretenders, nothing is more backwards and uncivilized than their own fellow citizens, who cling to such notions as God, guns, and honor. Yet these traditional Americans are exactly the people who are best positioned to put an end to the current elitist shenanigans for good. Far from not understanding their Postmodern poses, we understand them all too well.

It will be traditional Americans who rise up to clear away the rubble of the establishment’s failures and decadence. America has an amazing record of achievement, when we put our values into action. We have the wisdom which Postmodernists thought they were too smart to need.

America isn’t dying. It’s the artificially imposed Postmodern worldview which is disintegrating. Remodern Americans will carry on, better than ever.

 

 

Edit: Welcome Instapundit readers! Please visit other articles for more commentary on the state of the arts. 

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a paintingPlease send any inquiries to info@remodernamerica.com. Thank you!

STUDIO: Highlights from my Image Morgue

Inspiring Imagery Fuels the Image Bank in my Mind 

 

An update of an earlier post on how I collect the images I need to create my work:

 

STUDIO: The Image Morgue (May 20, 2016) 

These fragments I have shored against my ruin: a sample of my reference material

“The model is not to be copied, but to be realized.”

-Robert Henri

In painting, there really are no rules. But understanding painting as I do, there is a prevalent practice these days which I find completely undermines the integrity of the act.

Projector artists. Artists who cheat themselves and their audience by projecting an image onto their canvas and doing a paint-by-numbers routine to create their works. Artists like this have reduced themselves to a mere cog in a mechanical reproduction process, not creating, but taking dictation from their gadgets. They let their tools make their discoveries for them. It is an inferior mode of creation.

If you’re an artist, do your own rendering.

Now I am not rejecting the use of source material. I learned the hard way, through years of artistic practice, I lack the omnipotent powers of observation and recall to paint strictly out of my own mind and produce the results I want.

How do a frog’s legs attach to its body? How many wings does a mosquito have? What is the musculature of a horse? These are just some of the composition problems I have encountered. I can’t see clearly enough into my memory to reach the level of realism I want in my paintings.

So I use source material. Not all the time, but when it’s important to get something right, and I can’t summon the depth of detail I’d like to. When needed, I find photographs on the internet of what I want to portray, print them out, and study them.

But then-and this is the really important part-I put the photograph down, and paint what I remember about it, what I learned about it.

The image passes through the filters of my consciousness and becomes more me. And that is vital in art: depicting your own unique sensibility…

x

I’ve been busy since I wrote that post, I’ve made many paintings, and envisioned many more.

This morning I added a picture to my digital image morgue folder for a new painting I’m contemplating. I haven’t printed it out yet because the painting is not yet begun:

  Ancient Olive Tree

 

I started browsing through the folder. Some of images have been used in paintings, possibly in ways you’d never recognize. Others were more particular and identifiable. I wanted to share this window into the workings of my creative procedures. These are some of the pictures which have caught my attention, out of the endless resources of the internet.

 

x

x

x

x

x

x

 

x

 

x

 

As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization, art isn’t about just reproducing appearances.

 

Making a painting becomes more than just a matter of how to represent something. It symbolizes the artist’s engagement with life. We want so much to make an image that says, “This is who I am, and this is what I saw.”

When we do it right, everyone who sees it will find that image inside themselves as well. It becomes a moment we share, and which can be visited over and over, with new understandings always unfolding. This is the power of art.

Ultimately a painter doesn’t replicate the real world, but creates a world in the painting that exists nowhere else. There are no limits for a painter; every decision in the work can be freely made to best suit the desired result.

 

***********

I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a paintingPlease send any inquiries to info@remodernamerica.com. Thank you! 

SACRIFICING ART-AND EVERYTHING ELSE-TO THE CLIMATE CHANGE CULT

The Climate Change Hoax:

Banksy Contributes Yet Another Piece of Establishment Agitprop 

 

“The Foundation of Empire is Art & Science

Remove them or Degrade them & the Empire is No More…”

-William Blake (1757 – 1827)

 

There’s a common saying across the internet these days: “Get woke, go broke.” The phrase acknowledges when a business emphasizes Social Justice Virtue Signalling instead of producing quality results, the bottom line will suffer.

Joining the Orwellian flock of conforming sheep, bleating out allegiance to the latest leftist trends, leads to annoyed audiences and alienated consumers. No healthy business actively seeks to piss off big parts of its customer base, but it’s been happening with increasing frequency for years. It’s gotten so bad even major corporations are serving notice they will no longer run their operations with efficiency and competence, but will squander resources chasing the ever moving goalposts of social engineering. Blame our Postmodern establishment, which has degenerated into acting as enablers and enforcers for the totalitarian left. Their abuses have warped many professions, especially the arts.

Art is not about money. Or at least real art isn’t, despite the manipulations and miseducation practiced by our current corrupt arts institutions. They exterminated ideals of quality and skill from art, so price tags act as a stand-in for measuring achievement. But a shady and inflated purchase price doesn’t add integrity to a work of art; it definitely can’t change non-art into an actual artistic accomplishment.

Postmodern partisans control the mass communication purse strings. They make sure only the ideologically pure get funding and exposure. Support is possible as long as an artist parrots the approved talking points, or fits into the favored diversity check boxes.

So assuming the money aspect gets covered by submitting to political expectations, are compliant artists then able to create meaningful, evocative artwork?

No. Even with a monopoly over cultural expression, the skewed messages favored by our self-appointed creative class censors are failing to connect, even with sympathetic audiences.

Take the relentless Climate Change Hoax, and how a 2015 art show bent the knee to it.

I’m 50 years old, and for my entire life I’ve been hearing we are teetering on the brink of an environmental catastrophe which never actually arrives. As supposedly urgent climate deadlines go whizzing by, the nature and timing of the threat constantly mutates, but the remedy is always the same: the people must sacrifice comforts, wealth and freedom so the New Aristocracy of the Well Connected can keep living the high life. ,

The graphic timeline below charts more than my whole existence, and lists just some of the erroneous claims made by the Mean Greens:

 

Seriously people. Looking at these 50+ years of fail, it can’t be any clearer. The predictions aren’t accurate. The models don’t work. The fears are unfounded.

It’s a plot to grab money, attention, and power. These schemers hate any part of humanity they don’t see when they look into their own mirrors. They are indifferent to the suffering they would unleash, as long as they get to be in control. Get a load of this poor brainwashed thug-in-the-making:.

 

Doomsday Addams Wants You to Stop Breathing Right Now. For the Children. 

 

Does this look like someone manifesting long term planning, reason and compassion? Or is the face of someone who can’t wait to segregate us into our assigned cattle cars?

“Climate Change” isn’t science. It is mass hysteria and rent-seeking disguised as an emergency. The Progressives intend to progress us right back into the Dark Ages.

Art got recruited to be part of this charade in 2015, at the United Nations affiliated ArtCOP 21 event in Paris. “Climate is culture!” the bureaucratically  engaged creatives cried, instead of recognizing that culture is culture, and climate is weather.

A Horse Is a Horse, of Course, of Course? 

Take the example of this participant, performance artist Marion Laval-Jeantet. Her “art”  is described as:

Marion Laval-Jeantet allowed herself to be injected with horse blood plasma containing the entire spectrum of foreign immunoglobulins (following several months of precautions to build up her immune system). after the transfusion, the artist performed a communication ritual with a horse while wearing prosthetic horse-like stilts before her hybrid blood was extracted and freeze-dried…

“I had the feeling of being extra-human, I was not in my usual body. I was hyper-powerful, hyper-sensitive, hyper-nervous and very diffident. the emotionalism of an herbivore. I could not sleep. I probably felt a bit like a horse.”

Doctor Moreau, call your office. Thank goodness we have such paragons of science hyper-involved in the arts! What this actually has to do with climate, I couldn’t tell you, but surely she got paid to make this madness happen. Horse-like stilts are probably very expensive.

What is interesting is that a study was done of how the various artworks at the climate change carnival influenced the viewers. Not too much, it seems. Artnet explains:

 

Can Art Change Minds About Climate Change? New Research Says It Can—But Only If It’s a Very Specific Kind of Art

Only three works out of 37 left viewers feeling inspired to take action.

Researchers have found that art on show in Paris during the 2015 United Nations climate change summit did change people’s feelings about the environmental crisis, but only if it contained a hopeful message.

In a new paper published in the journal Psychology of Aesthetics, Creativity and the ArtsLaura Kim Sommer and Christian A. Klöckner of the Norwegian University of Science and Technology have identified a narrow set of parameters for what makes activist art effective in altering public opinion.

The study surveyed 874 visitors’ reactions to works on view at the ArtCOP21 climate change festival, which saw artworks scattered throughout the city of Paris to coincide with the World Climate Change Conference. It looked at their emotional reactions, the relevance of each work of art to their daily lives, and how much the works inspired personal reflection or action, according to Pacific Standard. Based on the results, researchers were able to divide the show into four categories: “the comforting utopia,” “the challenging dystopia,” “the mediocre mythology,” and “the awesome solution.”

In the end, only three works among the 37 on view made people feel like they were able to do something about climate change. All three, which were categorized under “the awesome solution,” were “beautiful and colorful depictions of sublime nature that are showing solutions to environmental problems,” Klöckner and Sommer wrote…

To the researchers surprise, the participatory works on view did not have much effect on visitors. “It did not make them reflect much on their own role within the climate crisis or the consequences a changing climate would have for them,” Sommer told artnet News in an email. “It just gave them a sense of belonging, which is why we called it the ‘comforting utopia.’ I was expecting that offering people a way to participate would lead to more engagement. But it seems that people want to be made aware of something awe-inspiring by someone that thinks differently, rather than be part of the creative process.” [emphasis mine]

So let me get this straight. People enjoyed the beautiful artwork, which showed them something they judged to be beyond their own skill levels. It made them feel more connected. And that is striking a blow for climate change activism?

Or is what described actually a very traditional experience of art, and the climate change con artists are hijacking the response, claiming it fulfills their agendas?

The Postmodern Establishment is trying to switch off the Enlightenment. The climate change hoax is an attempt to de-industrialize the West, even as our political classes continue to live in luxury. They try to use art as one of their tools of propaganda. Even when their hand-picked artists fail to get the desired result, they co-opt the interpretation, and explain why they win again.

As I state in my book, “Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:” 

 

The Modern age was the greatest liberation of humanity in history. As we became more efficient in providing the necessities of existence, we had more freedom to determine what kind of lives we wanted to live. As Modernism rose to highlight the potentials of individual initiative, leftist political movements counterattacked. Their goal was to squash humanity back into undifferentiated, subservient masses.

The elitists understood to maintain power, they had to undermine resistance. That’s why the top down cultural forces have made Postmodernism so prevalent. Using mass media to communicate their sickening message, the establishment made dispiriting Postmodernism the terrain we all must navigate, the atmosphere we all must breathe, the environment we all must adapt to.

The real climate change we need is the annihilation of Postmodern corruption. The Remodern Age has already begun.

 

Catering to Postmodern Madness is Thinking the Crocodile Will Eat You Last 

PAINTINGS: In the Night

Richard Bledsoe “In the Night” acrylic on canvas 20″ x 24″ 

 

From the Remodern America Manifesto:

Art is a more enduring and vital human experience than the power games of a greedy and fraudulent ruling class. The managers crashed the culture in pursuit of their agenda. They defend their usurped authority and privileges with doublethink, misdirection, and intimidation. Their time has run out. Reality is crashing back through their carefully constructed facades, and a time of reckoning has come. Enduring changes start in the arts. Remodernism defeats Postmodern desecration.

 

-Excerpt from

Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization

by Richard Bledsoe.

 

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I don’t fundraise off of my blog. I don’t ask for Patreon or Paypal donations. If you’d like to support the Remodern mission, buy a book. Or a painting. Please send any inquiries to info@remodernamerica.com. Thank you!