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!

HUNTER BIDEN IS TRYING TO CASH IN ON THE REDEMPTIVE POWER OF ART

Hunter Biden Discovers Another Meaning for the Word “Blow” 

“In a closed society where everybody’s guilty, the only crime is getting caught. In a world of thieves, the only final sin is stupidity.”

-Hunter Thompson

If the quote above were more recent, the maniacal journalist Hunter Thompson could have been describing another Hunter: Hunter Biden, the hapless offspring of the infamous political hack and dolt, Joe Biden.

Younger Biden and his dad are players in the combination criminal enterprise and psy-op gambit that is our current New Aristocracy of the Well Connected. As such, they are supposed to be above any consequences for their various idiocies and misdeeds. But Hunter Biden has been such a visibly public mess he has earned some critical scrutiny. From dating his recently deceased brother’s widow, to being booted from the Navy for cocaine use while daddy was Vice-President; from acting as bagman for traitorous international bribery schemes, to impregnating Arkansas strippers; Hunter exposes blatant corruption right in the inner circle of those who would rule over us as our superiors.

I do not expect the obviously senile Joe Biden will be President, or even the Democrat nominee. He’s a place holder, keeping the position open for She Who Must Not Be Named Yet Because No Way She Has the Stamina to Campaign. Rhymes with “Pillory Swinton.” But the stink of scandal must be lifted from around the pretend front runner. Buried under the media’s histrionic Wuhan Virus narrative was the recent news Hunter has settled with his stripper baby mama for an undisclosed sum, which also left his dubious finances undisclosed. But how else can the handlers flip the script for the dim son who keeps getting caught?

They’ve come up with a novel scheme. Suddenly, via the New York Times, we find the out the ne’er-do-well coke fueled lecher and money launderer…is actually a sensitive artist.

Hey, it’s worked for some other political boogeymen, from George W. Bush, to Winston Churchill. Showing an engagement with art softened the cultural perspective on these divisive characters. So the spin is being spun for the Hunter Biden redemption story arc. He already scooped up a trophy wife after a week long relationship-see, womanizing bad boy no more! But trying to shoehorn Hunter into the role of formerly-troubled creative is going to take a lot more work.

The Gray Lady gushes in the nauseatingly titled There’s a New Artist in Town. The Name Is Biden:

 “As an undiscovered artist, he is better situated than most: living in a rented, 2,000-square-foot house in the Hollywood Hills off Mulholland Drive, with a Porsche Panamera in the driveway, plenty of natural light and a pool house he has transformed into an art studio.”

What is his art? It seems to be mainly blowing ink around into abstractions that might suggest nature imagery. This is a project I literally did in elementary school art classes, but without any press coverage involved. Calling yourself an abstract artist removes any expectation there needs to be talent or skill displayed in the finished products.

 

Hunter Biden’s “Art” 

Honestly, Hunter Biden comes from such an institutionally fraudulent machine, I question if he even made these weak efforts himself. Are we supposed to believe he was honing his artistic skills between drug fueled orgies and collecting kickbacks? Are these works just props, the studio just a set, made to give the appearance of a changed man? I wouldn’t put it past them.

Or is the art world just an extension of the same cons he’s used to? Graft, influence peddling, tax evasion, insider deals, market manipulation-yep, that’s the contemporary art market all right. And then there’s this: one of Hunter’s “art-world connections:”

Biden’s Art World Hookup: The Name Says It All

 

As reported in Artnet News:

“For a period in 2018, Biden could be seen stopping by art openings and parties on the Lower East Side, and attended a runway show for the hip downtown fashion brand Lou Dallas. Sources said that many of his art-world connections came through his relationship with Zoe Kestan, the lingerie entrepreneur who is better known by her Instagram handle @weed_slut_420.”

So we are supposed to accept that Hunter Biden has left his sordid past behind and embraced the rarefied existence of an artist. We should overlook that under elitist mismanagement, the alienating and irrelevant visual arts institutions are just another venue for corruption, financial games, and the abuse of power. This stuff is so clumsy and obvious these days. Either the establishment just doesn’t care enough to do convincing hoaxes any more, or they are too dumb to pull them off effectively. It could be both!

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

 

“Hierarchy is a natural phenomenon. It exists for all forms of life. Humanity is unique in that we form our power structures based on thought instead of the more typical biological imperative of brute force. We’ve used our minds to make ourselves the acting masters of the world. We’ve created systems that sustain vast populations.

“However, our comfortable dominance introduces a potentially dangerous flaw. Our hard won heritage of civilization has created an environment where the apex positions in society no longer have to be earned. Status is bestowed for any number of arbitrary reasons: family ancestry, inherited money, sociopathic determination, political expediency, effective networking, or boutique servicing. This means those who wind up at the top might not really belong there at all. In America, there’s no better example of this absurdity than our current crop of politically educated bicoastal elitists.

“It’s why the establishment types put so much emphasis on credentials, instead of real world achievements. It’s why so many of them spend vast amounts of money on useless college degrees. The collection of resume-polishers is endowed with vast prestige. “Failing up” is a common establishment phenomenon; botch your current role, and get moved to the next rung up the ladder. The inner party takes care of its own.

“While many professions require rigorous training, that’s not true of many forms of our current establishment’s closed system of accreditation. What establishment-approved credentials often do is certify membership in the club. Those who have successfully navigated the filtering system proved they can play the reindeer games of the elitists. They will hold the correct opinions, support the same views, and signal the same virtues as the rest of the special tribe.

“Sadly, our elites have shown themselves to be far from truly advanced. Their actions expose them as defective characters, propped up in positions far beyond their capacities. Of course these pretenders embraced the fog of Postmodernism as a means to cover up their fundamental incompetence.”

 

Getting a serious write up in in the Times for juvenile art stylings is quite a credential polisher. But no amount of unearned accolades can create a legitimate artistic experience.

 

Say Cheese: Hunter Biden

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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!

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

In the Belly

A New Painting for the New Year

 

I am currently at work on my latest large scale piece-large for me being in this case 30″ x 40″. The image above is my first crude underpainting for a piece that I will be working on for the next several months.

The current subject came to me in a vision, as my imagery often does.

Right now I don’t have to fulfill any commission. I don’t have create a piece for any particular theme show or call for entries. Being so free to choose out of the many painting ideas I have could be challenging. However, as an intuitive artist, I am provided guidance. I know the right idea to proceed with because it’s the one I keep thinking about. I can’t get it out of my mind. I’m going to need to paint it out.

The story of Jonah describes a man who tried to dodge his responsibilities, and wound up being swallowed by a great fish-temporarily. One of my favorite artists, Albert Pinkham Ryder, painted this subject before.

Albert Pinkham Ryder “Jonah”

 

I have visited this theme before, in a small work.

Richard Bledsoe “Leviathan My Friend” acrylic on canvas 12″ x 12″  

2020 looks like it’s going to be the year of getting stuff done. We can’t remain the bellies of the various beast that consume us. We must do the work we are called to. That is the energy I am pouring into this new piece.

It’s powerful theme, that everyone can relate to in some way. As I state in my book, Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization: 

 

 

As I work on the paintings, I come to interpret them. Patrons will often share insights with me on my works as well, telling me meanings that I didn’t even realize, but which become clear once indicated.

Such is the seductive beauty of symbolic expression; even when manifesting universal archetypes, a symbol caresses the spectator in an intimate manner. While symbols can communicate concepts shared in common, each person experiences the thrill of recognition in a unique way, different as fingerprints.

 

I will periodically post updates on this work, and share the progress.

 

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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.

 

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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! 

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!