Chinese Landscape with Water Flow Research Institute, oil on ready-to-use “Stylex” canvas w/ stretcher, 30×40 cm
The ancient art of Chinese Landscape Painting aims for universal completeness and peace, just as the Chinese Empire was supposed to reign for eternity. A painting is not complete if it does not bring together the hard, the fluid, the gaseous, which means rock (the mineral world), water, sky (air, fog). Living organisms are either part of the solid world (trees), or transient, animal or human, which are few and far between. Water is the element that flows through the image, from top to bottom, uniting all, making all into one living organism. Never is there harsh light coming from one point, creating light and shadow. Perspective is mostly of the aerial type, which means things in the distance are lighter in tone, as they reach you through fog, fine mists waft between them and the onlooker.
While this type of painting is originally done with ink and a soft brush on paper, here a westernized technique is employed, using oil paints, but heavily diluted, pig bristled flat brush, on cheap, pre-primed canvas with an interesting rectangular grid. The colour scape is muted, the mood not sombre, but peaceful, fresh, cool and gentle. The family of ducks in the lower left corner find their way undisturbed into the pool at the foot of the rocks, fed by cold spring water from the heights. The institute is nestled in the middle ground, free space to the front, a rock wall in the back, top stories and penthouse reaching out for the great emptiness above.
Vize 4: Tajná raketová sila / Vision 4: Das geheime Raketensilo / Vision 4: The Secret Missile Silo, 2020 Öl auf Holz / oil on wood 70,2 x 60 cm / 27.6 x 23.6 inches
This 2020 painting harks back to several versions of the same motive, a 2006 drawing, another smaller 2009 drawing, a comparatively large painting from the same year and a later, 2012 re- or overpainting of that painting. It is based on a Heljan plastic model, the Heljan #673 N Scale Meat Packing Plant kit. While painting this iteration of the structure, one of the artist’s roughly four favorite and therefore recurring real world or model-type architectural structures, the artist was grappling with ocular clouding (encroaching blindness) and also with a newly developed (or degenerated) technique of mixing organic substances with oil paint and acrylics, applying the resulting mixture, uneven because of different solubility of its constituents, often in half dried states or different phases of coagulation, onto the canvas with brushes in varying states of distress, interspersing the emerging image with highlights of synthetic luminescent powders and pastes. In this painting the artist perhaps reached a pinnacle in the materialization of a certain style he envisioned – a style where the constant fight between the youthful wish for perfect execution and the cosmic truth of decay leads to its own results, where human mind control and the freedom of molecular motion and chemical interaction coexist, where the Jungian amateur pursuing personal narcissistic goals of alchemical omnipotency finds respite in the struggle between time-bound limitations of the human flesh with the desires of the mind and the phantasy of timelessness.*
*Timelessness of art, which Oskar Kokoschka found perfectly represented in Rembrandt’s “Self-Portrait at the Age of 63” at the National Gallery in London. While bemoaning the bombing of Dresden, visiting the National Gallery at the suggestion of his wife, he found back his inner peace at the contemplation of old skin, “like the skin of a dead chicken”, in the way in which Rembrandt understood to apply his own virtuosity in an inimitably masterful loose yet perfectly controlled application of paint, where molecular structure of the medium and chemical changes taking place in the process of drying and hardening, together with said virtuosity and sheer dexterity of application lead to a lasting and static depiction of a particular stage in a process which in the natural universe leads through life to death and complete disintegration in a matter of only a few years. **
**This anecdote is repeated here not to glorify the artist’s own desires of creating such an effect, but to humble it, as the above painting is not only a very serious effort, but also a typical example of Schlawinertum, as a surrogate to virtuosity and diligence, in contemporary art. It might be even that some hypothetical onlooker would only see the jejune and the would-be where in the eyes of the creator there is at least a glimmer or echo of the inner truth they sought, approached in baby steps which are much too short to reach their goal even within the whole lifetime of a person so encumbered by their own deviant desire for a sorrow-free life, which so often leads in truth to an inordinate accumulation of inner sorrows, often seen and belittled as minor by others, as they are sorrows of the imagination. While someone like Dostojewski, who knew exactly the interaction of sorrows of the imagination and the true sorrow of, for example, hemorrhoids, which so often result from sins of the mind, was so perfectly cognisant of the fact that nobody is entitled to define or judge the difference between imaginary or true sorrow, as their is none in degrees of pain they inflict.
Co-Operative All-Togetherness Cement Plant, 2020, oil on canvas, 51,5 x 71 cm / 20,3 x 28 inches
This is a painting full of problematic content and a problematic history. In fact, the artist has since altered it in the form of adding a new brighter sky, thus completely changing its atmospheric mood, content, and “meaning”. Even this version was not the first version, because the dark sky replaced a former version of a brighter sky (since reinstated). In the end it became clear though that the artist himself had no way of determining which version was in fact bad or good or finished. It is all in the mindset.
The painting features a standard cement plant with a co-operative economic model, which by and large means, a people-centered enterprise, controlled and run by and for their members, with the function of realizing or materializing a common economic, cultural, infra-structural, civilizational goal. The plant, which could also be designated a concrete plant, is augmented by a more or less abstract floating shape which looks to be of artificial origin and crafted from a semi transparent metallic, completely unknown material. If not unknown, this material could also be described as transparent acrylics with a small amount of finely distributed embedded metallic particles. The whole tube-like construction might be filled with air and is big enough with thin enough walls so that the air inside could be heated by the sun to such a degree to ensure floating of the structure, where the metallic particles in the transparent thin transparent film constituting the outer walls of the object are light sensitive (liquid crystels?) which regulate the temperature of the air or gas trapped within in the way of a homeostatic system.
Note also the elongated pyramidical object in the window of the attached control room of the plant. This is a robot sentry overlooking the operation. This detail is also a veiled reference to the dead tram conductor in “The Thing in the Moonlight” by J. Chapman Miske.
A final note: concrete, though useful and aesthetically pleasing, is a thing of the past and present, not the future, As of the year 2070, all newly constructed structures will be made of some yetnot perfected synthetic alternative or naturally occurring building materials like wood, clay, natural stone. Like trees, concrete buildings absorb CO2. New calculations show that concrete absorbs roughly 30 percent of the amount of CO2 that cement production emits. That is a non-cooperative, planet-unfriendly balance according to the Instrumentality of SCIENCE.
This is a design for a monumental machinistic sculpture with slight hyperdimensional attributes. The machine comes delivered together with a floating satellite which is able to find its way in and out of a given dimension through tiny wormholes. The state of reentering one dimension is depicted here. The machine itself is designed for mainly benign and oracularly purposes. Its services are directed at comfort- or advice-seeking individuals who receive messages of a non-verbal character, relayed to the machine by its satellite which can probe and spectralize possible realities from multiple dimensions. In rare cases the Friendly Inspector can develop a certain kind of wrath and become punitive and disciplinarian in character, which gives this machine its intended messianic character. This machine is to be stationed in appropriately isolated spots, to serve as an acceptable surrogate for religious or mythical figures of the genital type, like Jesus Christ, who have lost all meaning or are accepted as mere history, with no function in the day-to-day struggle for self-realization of the individual.
The World of the (Non-) Euclidean Central ”I” [42×29,7cm, 2013]
The (Non-) Euclidean Central “I”. Something so abstract, elusive and yet so intimate. Inside: the perfect sphere, round and immeasurable, protected by the glass pyramid of calculation. The inner walls of the fleshly host incrusted with calcifications, crystallizations, soft matter transformed into hard, dead matter. Undertake one bungling step through the apartment of your self with the lights turned off.
[…] after a while there was a further clicking in the receiver, and I strained my ears to listen. Again I called down, “Warren, are you there?”, and in answer heard the thing which has brought this cloud over my mind. I do not try, gentlemen, to account for that thing—that voice—nor can I venture to describe it in detail, since the first words took away my consciousness and created a mental blank which reaches to the time of my awakening in the hospital. Shall I say that the voice was deep; hollow; gelatinous; remote; unearthly; inhuman; disembodied? What shall I say? It was the end of my experience, and is the end of my story. I heard it, and knew no more. Heard it as I sat petrified in that unknown cemetery in the hollow, amidst the crumbling stones and the falling tombs, the rank vegetation and the miasmal vapours. Heard it well up from the innermost depths of that damnable open sepulchre as I watched amorphous, necrophagous shadows dance beneath an accursed waning moon. And this is what it said: “YOU FOOL, WARREN IS DEAD!”
(Howard Phillips Lovecraft, The Statement of Randolph Carter, 1919
Theatre for Plutonian Rituals (A4, pencil and coloured pencil, 2011)
Rarely has it been possible to evaluate ideas about the ritual transformation of persons, objects and caves using a range of modern scientific techniques, on an entirely new and potentially high-quality dataset. Such an opportunity is now provided by the recent discovery (by Rickus, Eggmont Duplex, COMET – Oorth Cloud Resort Evaluation Department) and initial contextualization (by Dr. Hecate Sibonga, Uurd University Department of Continuing Education) of an extraordinarily large and well-preserved group of at least nine ritual rocks, caves and objects in a recently abandoned secret territory, situated in the deep interior of the sole continent of an undisclosed planet.
This place of underworld devotion is situated on a minor planet whose space coordinates were possibly periodically re-encrypted with new keys while the site was still in use. The Plutonian rites incorporate devotion techniques of the Munay-Ki, Masonic rites of the Scottish and York variety, as well as elements from certain Confucian concepts of ritualism. Plutonian rituals are closely related to the Schessmanweil belief system, which was specifically designed to counteract the increased heliocentrism of the modern world (in the Schessmanweil system, the lowest place is considered the most honorable one).
Half-Timbered, Thatched Roofed House near the River Stör with Group of Icosahedrons (297 x 420 mm)
Half-timbered brick house, typical of the marshy regions along the banks of the Stör river. The Stör is an artificial, straight, canal-like river with lovingly detailed riverbank flora, allowing for rich biodiversity, right tributary of the Isabgol, greatest river on the northern hemisphere of the planet Schüssler, which orbits around the sun Arsenum Jodatum in a minor galaxy.
The freely floating group of eikosahedral cages of Sigma-2, commonly called icosahedrons, is part of a scattered cloud of platonic solids which was created to protect vital parts of the planet’s surface from the deadly rays of its sun, thus enabling terraforming to render them habitable.
Proposal for a bion converter on the eleventh moon of a yet undiscovered planet around a red-dwarf-type sun. The bion preparation to be won in this plant will be most effective in the fight against mind-poisoning related deseases.
GPTU - 33 / IPP World Wide 