Tag Archives: contemporary painting

simulacrum painting

simulations are always obviously not the real thing. anything you can think of that uses the word simulation manifests some quirky, not-so-equivalent equivalency to the real thing, though simulations in the utilitarian sense are often used prior to the ability to use the real thing. flight simulators have become so sophisticated that perhaps they are an exception, but driving simulators will never reach the kind of operative level as flight for the sole reason that air traffic and road traffic are not even in the same licensing arena, nor are the extensions of the body which create the simulacral manifestation of travel that out performs any natural abilities like walking, running, skipping, rolling, shifting, jerking, pivoting, tucking, snapping, epileptic vibratory locomotivation, or other means of self propulsion.

but not spinning….

im not talking about spinning or gyrating. that would be ridiculous. Who would spin to get from point A to point B? I don’t know. I know of 34 indivials … or rather a group of 32 individuals and their 2 leaders who gyrated in ellipses all the way from Canada to the edge of the Milky Way over the course of a summer. They had #colluded with several top executives in the American Star Federation to be granted temporary embargo relief while wearing vanilla sweaters stitched in lilac and socks of silver lining so that the witness to the full blown fraud fiesta could be better assimilated after being drowned to death every winter without chocolate slacks or berry pants to to keep them covered and sweet to the mouth. Had spinning occurred all hell would have broke loose. #thaticantellyou

in this painting, the subject is set free from most activities involving current computer technology and their operating system softwares. Perhaps it is a dream come true. Perhaps it is a nightmare that all people have after gyrating from the center of a geographical parallelogram to it’s caramel nougat Christmas vest patterned race car with Italian manuscripts in seven Asian languages over the course of 38 minutes. Either way the subject objectively has no fucking hands. How they disembarked is not really indicated, nor are the hands visible, which suggests that perhaps there never were any. If  the viscous red substances splattered about and roping in a pile from the openings at the ends of the subjects arms is blood, then maybe it’s just a #constant. This may not be a tragic narrative after all. I can also speculate that this flowing mess is food. Why? Because I am very hungry and want to eat some food. If that food comes out at the wrists, then I got no problem with that.


Maybe you know what’s going on here. The artist that painted this image is a Dutch-German Chocolate Cake from California and does not take responsibility for assumed content in any of his paintings. Generally speaking, assumed content coupled with exaggerated and gestural form is basically the approach. trying to critique some meaningful message or narrative from it can only end badly, so I suggest that you don’t try.

if you truly cannot help yourself, then leave a comment which specific“efficiently describes the size of the opening needed to place the money that will be `used to purchase this fine work.

*do not cut your hands off at the wrists thinking a viscous candy will poor from the opened ends that you can lap up or sell to children. Just don’t do it if for no other reason that it would be hard to use your touchscreen device.


One for Monday … and the coming years

Meaning Lesson 101 - Fish and Water

a little subtle in suggestion, perhaps, but no less impactful in its lessons that teach us the meaning of fish.




I have been on some thing about hammerhead sharks for about a week or so now and still can’t break down the semiotic equation into understandable, relatable signs. Perhaps it’s their pre-historic shaped head that has had no need of evolving or maybe it’s the way they congregate in giant vortex swimming patterns in the pacific ocean for mating purposes .. or for more sublime purposes that have to do with the other reason I believe I have been drawn to them .. their use of the magnetic field of the planet for more than we should assume we know.

But that is what contemporary art essentially is .. the working of a content problem through paradigmatic and syntagmatic signs in a closed system (a canvas or virtual canvas) with illusory borders that indicate a framework for the set of variables in the equation…. that’s painting. At least that’s part of what painting should be.

this is our kitchen.

with hammerhead sharks.

Contemporary Art History – from minimalism to conceptualism in one digital app(lication.

lots of new things in production. spending less time posting to iG abd Vine and more time with static visual series work root in abstraction departur, where an initial painting or other 2D piece is reworked with digital tools for a linear progression into something that is more purely retinal and whose original source image is only evident with key framed pieces that show the transformation.

the first painting is titled DIGITAL ICARUS complete with a small narrative about flying too close to the iCloud, which causes data to rain from within and the loss of all in-app purchases causes social turmoil, famine, and boredom … a post-allegorical allegory for the digital age.


in a process that essentially squeezes the histogram and color palette of an image into a circular form, the form is then further pulled and stretched to its limits and beyond. 
in contemporary art history concerned with American Art post WWII we see a shift from n the various movements between the 1940s thru the 1970s that concerns itself with self-referential totalogies where abstraction sought to widdle down painting to its materials and nothing else … canvas & paint. Acrylic paint found an emergence in this time frame as the ability to apply paint directly to a surface without first priming it made the minimalist movement chirp. this of course did not stop as the move into conceptual art which brought with it a stripped down acceptance of what could be considered art, which at times had no concrete form (a moment in the history of art that suggested the division between artists and audience was often not one of respect). however we also saw work that was incredibly complex with its documentation of process becoming just as strong as the final product.

these pieces are perhaps more about the minimal transformation of pixels across one digital piece to another with many in between, without the need of much more than one single application within one single app(lication.