Tag Archives: digital art

QUASI-PREGOGNITIVE SURREAL WATERLOGGED NARRATIVES

Somewhat creepy are a few of the collages I had just finished in the week before Hurricane Harvey in their quasi-precognitive depictions of surreal waterlogged narratives.

Not to suggest that any of them are anything more than a continuation of the content and form on my primary Instagram that just happened to incorporate unsplashed backgrounds depicting large to medium sized bodies of water, and considering that the earth’s surface is nearly 80% water there should be nothing worth noticing as driving a paradigmatic relationship beyond that.

However, when the particular image that bears a similar title to that found in the heading text is placed as a focus in relation to the hurricane and it is understood that it was completed without any knowledge of a tropic storm or storm of any kind anywhere nearly a week prior to Harvey’s landfall, its content lends itself to a dynamic which suggested that pre-cognition of TheDonald’s first (and hopefully last) natural disaster response as POTUS. There was no clear message or intent involved with the collage as it was constructed like all of the others, relying heavily on the forms themselves to complete the composition. There is often very little to go by in terms of drawing meaning with pure syntagmatic relationships fighting to construct significant meaning out of very thin structural relationships created by simple repetitive motifs (if the Japanese artist Korin had copy/paste or duplicate capabilities, those Irises would have been on rice paper partitions across the world).

So at best a coincidence that we will say is a coincidence until I reveal all of the other pre-cognitive visual and didactic events that have been happening in my crusty world over the past few years. It could be that the autoimmune condition that struck without warning was so traumatic that it knocked an extra sensory location of the human brain loose – freeing up axons and neurons to connect to events in the future as other neurons and the mylan that protects those peripheral neural pathways were destroyed by my own macrophages. It would be nice to think so considering that the experience of feeling your white blood cells consume your nerve endings like millions upon millions of electro-microscopic hammerhead sharks gnawing into white-hot electric fire that is your feet and toes as they twitch and arch in slow agony by themselves, but probably not. It’s all probably something more related to the Pfizer brand squid that is thrown back to the ocean and reclaims its deep trench single squid family home from the in laws that forced him out when they got frustrated because he got sick with an auto-cephalopodic tentacle twitch.

Yea that’s what really happened.

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EPHEMERAL NATURAL GRAFFITI LANDSCAPE TATTOOS

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EPHEMERAL NATURAL GRAFFITI LANDSCAPE TATTOOS

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EPHEMERAL NATURAL GRAFFITI LANDSCAPE TATTOOS

The newest craze in site specific land-based arts. Conceptually these are created with the intent to place a spell over the natural order of the local area and give explosions and fire raining down from the heavens a chance to destroy whatever ideas we have about acceptability.

More often than not, these only sit in instagram, Tumblr, or possibly facebook and father digital dust.

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.

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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.

COLLUSION COLLAGES

These digital collages are pieces from an ongoing and permanent series that had gone by a few names which will continue to be dynamic with contemporaneous events of our lifetimes. Intentional Misrepresentation and Collusion Collages are the two current titles being used.

to keep up with regular collage content, including extra video posts and generally absurd content that rides the edge of the truth, follow my Instagram:

transcendentalaccidentalism

 

OUR 25 YEAR OLD DAUGHTER PULLED A KYLO REN ON HER MOTHER

https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Ftranscendentalaccidentalism%2Fvideos%2F1446118878767911%2F&show_text=0&width=560
she will have to live without integrity and become her mother’s replacement for her grandmother’s Narcissistic Supply.

We didn’t get a chance to warn her about her grandparents, but it’s a miracle I figured it out as easily as I did. By the time we had them identified, our grown daughter had already been playing us and when the stress of concealing what her grandfather took from her mother and gave to her, she fell back on the narrative of convenience.

I overestimated her intelligence by a long shot. I also overestimated her humanity, which may be dormant in the face of blackmail, but when you are in the middle of narcissistic abuse it is very hard to see through the fog.

CONTEMPORARY COLLAGE 

PART ONE – Higher Education Pre CSUMB

I’ve been painting my whole life. I never doubted I would go to college and there was never a doubt about what I would study. That’s more than many people get. Clarity can be essentially to moving forward with big decisions, but nothing can be that clear. My education was strange and a bit longer than most. In order to make my schedule work and to keep my GPA up I ended up withdrawling out of a few required classes that were flat out unfocused or just too basic. There were also the extra courses I took in biological sciences that I took just to learn from. All of this was what made it take 7 years for me to get my BA, though in reality I probably have taken more away from my major than most who have a basic master’s degree. I suppose I’ve planned on getting my MFA at some point, but until recently I had no obvious sense of what I would want to propose for a MFA project. 

I attended 5 different colleges. Three of them were junior colleges and the last two were California State Universities. When I transferred into the State system I was reluctant to take it very seriously. I was attending Fresno State University and the Art department had some fatal flaws in comparison to its football program. With so many students in a life drawing class that the few minutes I had to get from one class to that class always left me with a broken easle and nowhere to get my perspective on. The other studio class weirdness was that the materials list was less advanced than what the city college had where I had been painting for a couple years. Nevertheless, it was the theory and contemporary art history classes taught by Charles Gaines that made me leave FSU for the newset State University at that time. I learned so much from Mr Gains that I still go back through his readers and find myself recounting things from his classes. The odd part was finding out that he had been given the prestigious position of Dean of Fine Arts at Cal Arts and he stayed on to teach at Fresno State probably for tenure or retirement issues. I also later found out that I had gone to school with his son – I didn’t really know him, but it made things make sense.  What was sad was that at Cal Arts the courses he taught were full in the first ten minutes of registration. He taught these same courses at Fresno State, but the students were by and large opposed to them. Too much thought and emphasis on philosophy and psychology. To me, Charles Gains was giving us the answers to the big secrets in some strange codex of artists and their works. He also extended references to some very intense conceptual framework which for most students probably threatened the nice little bubbles that they had operated in. So in the end it was more of the fact that his two courses in my list of required classes were over with and I felt like there was nothing left but a downhill putter to graduation. One thing I learned was that whatever is new in art is probably where you want to be, so upon hearing that the closest shot to the ocean from where I was had converted the former fort ord into a University that offered 4 majors, art being one of them, I took a chance and went there with my wife who at the time was just transferring to the state system. 

To be continued. 

SNAKES AND EGGS, INTENTIONAL MISREPRESENTATION, CONTEMPORARY COLLAGE

My whole life has been spent putting pencils and paint to surfaces to see what type of representation might manifest. I can’t say why I started doing this, other than I remember my mother oil painting at the repurposed kitchen table, which eventually evolved into folk art painting which was safe enough for me to dabble in. I remember the small plastic bottles of liquid plastic colors – none of them were very hi-chroma, which is a toll art thing and also probably the reason I ended up choosing very highly saturated colors when I started painting on canvas. I painted and painted on canvas, paper, and eventually on all of our table tops and other furniture as the prospect of storing more canvases (painted or not) became daunting. By the time I switched from one California State University to the newest (at the time) Cal State campus at Monterey Bay, I had almost altogether given painting up to the occasional utilitarian activity of painting objects that would be part of assemblage art or combine painting. The one thing that had suggested itself to me very loudly was the emerging capabilities of the Macintosh computer. Nearly everything that is possible on today’s systems was possible in 1997, it just took so much longer and was less forgiving. But that less forgiving part was what made things work very well. With one undo and a twenty minute wait to process any major pixel transformation, you just had to commit to decisions and keep going. It feels strange to use several undo’s on any system for any reason. It’s this experience that taught me how to get the most out of the time allotted. I was kind of pushed into the label of graphic designer by the Institute for Visual & Public Art, which would be both a very good experience as well as an awful one. I am not a designer. Never have been. Designers are highly organized and somewhat detached from what they make. They have to be by the nature of what they are doing…. and fonts? Forget it. I can’t stand to look at endless fonts in indecision.