Archive for the ‘Torsten Slama’ Category

The Three Strategies of Huang Shigong

August 8, 2022

Antitransgressive prevent strategy has three specific objectives: (1) respond to the ideological challenge of deviancy and systemic transgression and the threat we face from those who promote it, (2) prevent people from being drawn into boundary challenging behaviour and ensure they are given appropriate advice and support, (3) work with sectors and institutions where there are risks of radicalisation (hot spots, suburban abandoned areas, et al.)

This drawing ®2031 by Torsten Slama
The Three Strategies of Huang Shigong (Pencil, crayon, pastel, acrylics on paper, 65 x 50 cm)

Look at a brutalist office edifice with sustainable, architecturally integrated cooling and climatization scheme, dedicated to the established best practice of social work and the prevention of social disintegration by all forms of deviancy, including chronic fatigue syndrome.

See how the sculptures of three modes of transportation – (steam powered, bodily propulsion by legs, petrol based motorized solution) are forming an allegory of adaptability and the value of “getting out of the comfort zone”, to achieve better social results which will all eventually end in failure due to entropy which besets the universe and is totally against all human endeavours to create stable (“sustainable”) solutions. See also that the tricycle of the Dion et Bouton type is meant to be an immovable sculpture, bolted to the pavement, just as the Greek Riace bronze warrior is only a mass-market die-cast full scale model of one of two actual sculptures, found in 1972 in the sea near Riace, Calabria, of an actual and organic bearded warrior, and the Engine on the roof is also just a light-weight, plastic replica in slightly reduced scale. This is all architectural art of the Kunst am Bau variety, later added to the stark and elegant brick edifice which in its purer form served purer functions, supposedly.

Please note that this drawing is not only in actual execution, but also in reproduction of only middling quality. This reflects a remark by an actual social worker “social work is always and in all forms dedicated to failure”. In fact, even though in rough form, the drawing includes and merges all sorts of painterly and graphic techniques. If the artist was a Norman Rockwell this should mean that the work was supposed to shine in photographic reproduction, but this was achieved in this case, due to inferior photographic equipment and lack of photographic expertise on the photographer’s side.

Drawing and text © 2052 by Torsten Slama and the SHY Laboratory Group

Way to Work – Strengthening the Links between Active Labour Market Policies and Social Support

June 13, 2022

Way to Work, this drawing ®1992-2022 by Torsten Slama
Way to Work, 9.1 x 12.6 inches, pencil on yellow carton, 2022

This drawing is the recreation of a drawing from 30 years ago. That drawing was nearly identical in composition, but the figure was fully dressed. While the original was not found, presumably lost or sold, a photocopy still existed, begging in its inferior quality for the undertaking of making a new drawing, a handmade copy of the remembered original, coming as close as possible or even surpassing its original craftspersonship (perfectionism/youthful folly). Actually, even though slightly larger than the original A4, the technical execution is inferior, no doubt due to use of single mechanical pencil with HB mine and tip size 0.3 mm instead of multiple finely and variably sharpened wooden pencils of different grades.

The original clothing of the depicted person was first executed, then, by means of an eraser, removed again, and the nude body reconstructed, to achieve something of an Helmut-Newton effect, with a tint of irony perhaps, as the depicted person is not really the preferred Newton body-type. There was the idea that this could be a sort of nudist yoga teacher, but the muscular tonus is not there, nor the general width of the core which normally results from yoga practice. 

The source of the depicted setting is not clearly remembered. In all probability it was inspired or rendered from a photograph of an architectural decoration project by Victor Vasarely somewhere in France, either a shopping centre or university campus.

The following is a non-realized passage concerning dress codes and where nudism would or could be placed on a scale between “casual” and “formal”. 

Please observe the extant photocopy of the 1994 original:

Copy of original drawing, drawing by Torsten Slama, copy made at a Düsseldorf copy shop in 1993

First version (copy) “The second Idyl” A4,  ~1993

Drawing and text © 2052 by Torsten Slama and the SHY Laboratory Group

Recently, at the Film School

May 27, 2022
Film School Student in Akira Kurosawa Jumper, 9.1 x 12.6 inches, pencil and Chinese white on red carton, Drawing 1992 - - 2031 by Torsten Slama and the Media Group
Film School Student in Akira Kurosawa Jumper, 9.1 x 12.6 inches, pencil and Chinese white on red carton, 2022

This drawing is a medium faithful copy of an original which the artist produced in their early prime, probably around the year 1994. It is an effort to reproduce ancient charms in place of new inspirations. This reproduction was made from an old low-quality photocopy of the presumably lost original. It features a Caucasian male in front of a large library or university canteen window overlooking a Japanese garden, wearing a designer pullover (fashion statement) inspired by one worn by Akira Kurosawa on the occasion of one of his latest interviews, probably in the early 1990’s. It is drawn with mechanical pencil on the back of a French Exacompta folder in an exquisitely elegant warm red tone. Some highlights where added to the shrine and tree in the upper left corner. Grease marks will fade over time, while fold creases are original property of the medium and will remain.

Drawing and text © 2052 by Torsten Slama and the SHY Laboratory Group

The Marianne Dreams House

March 18, 2022
This drawing ®2031 by Torsten Slama
The 2nd Marianne Dreams House/The House on the Borderland (Acrylics, [coloured] pencil, on two A4 sheets of “Durex” technical drafting paper)

This house is the second variation on a dream location described in the book “Marianne Dreams”, by Catherine Storr. It is a house containing a boy, inflicted by polio, who lost the will to live (or to move which according to Wolf Larsen is roughly the same), a house with barred windows at first and no interior furnishings, surrounded by encroaching rocks with evil eyes. Marianne enters the house, which she had created by drawing it with some sort of very powerful pencil, in her dreams, while herself in her waking state being bedridden with some illness but a sense of agility far surpassing the progress of her recuperation, and engages with the boy, whose name is Mark (he could have been aptly called “Mark One” had this story been set in a science fiction as opposed to a sort of fantasy setting).* She challenges him, much to his discomfort, to get out of his self-protective identification with the limitations and the confinement of his illness, and finally succeeds, after having empowered him by dreaming/drawing up an exercise bike for him to train his legs, to have them both rescued by helicopters.**

*If set in a “parodic” sort of internet and social media world of the 2010’s, the character could also be aptly rechristened “Chris”.

**For a slightly darker toned rendition of same image, please visit this address

First edition cover art by Marjorie-Ann Watts

Drawing and text © 2052 by Torsten Slama and the SHY Laboratory Group

Three Dwelling Houses

December 5, 2021

House for Hunter, art by Torsten Slama
The “The Most Dangerous Game” House, 29,8 x 21,5 cm, pencil and crayon on tone paper, 2019

This, the “The Most Dangerous Game” house, is a lodge for a special kind of hunter, a bearded one, who hunts the most crafty, murderous, cruel animal: the human animal. Which is the only animal with ethics and moral judgment, thus capable of revenge, not humble. Instead of fangs and claws, it has intelligence. Thus, it is the most dangerous game to hunt. The hunter type to take residence in this house has a taste for Eastern European low density dwelling architecture. The actual depicted setting is generic. A type of less dangerous game, a Bruderus Horten Noncaudatus, a flying wing-type ancient animal with an especially small brain, is flying by, unmolested. It is unclear whether the hunter is presently at home.

“Judge Dee” Country House in Carboniferous Setting, 31.5 x 23.5 cm, pencil and crayon on tone paper, 2019

This is a retreat-type home for the more benign, less damaging to the social fabric kind of hunter, the hunter for peace, quiet and solitude which he/she/it finds ideally represented in a dwelling detached from civilization by a certain distance in the fourth dimension. Thus, the person for this country home must be a time traveller to take leave from all that binds them in the now and find what they seek in a geological space and time which gave birth to all fossile fuel reserves which now fire our unpeaceful modern world, the carboniferous era.

The Abductionist’s House, pencil, pastel on tone paper, 29,7 x 21 cm, 2019

This house offers shelter for a very special kind of lover of humans, the abductionist, the John Fowlesian Collector-type. These are mostly male, for certain reasons which are difficult to specify or elucidate or trace back to either evolutionary or civilizational reasons. The collector traps another hapless human being (like the spider the fly in the parlour with the fine edgings), and keeps this hostage-type specimen under lock and key, for fear of abandonment and in the hope of by keeping this other stationary they could by pervasive and tenacious persuasion win reciprocal love. This person, as the chimney smoke indicates, and by general habit, home. The victim lives probably in the cellar. Two dogs are in a playful mood, but would alarm the house owner by raucous barking if anyone should approach. The house shares certain decorational and structural characteristics with the “The Most Dangerous Game” house, which indicates certain interesting psychological links between hunting and collecting.

For a different kind of author-approved viewing experience, you are invited to redirect here.

All depicted house studies © 2019/2037 by Torsten Slama and the TTS®

Co-Operative Cement Plant

June 27, 2021

Cooperative Cement Plant, painting by Torsten Slama
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 yet not 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.

Food for the Gods

September 27, 2020
Converted Chemical Laboratory with Storage Facility / Experimental Prize Pig Setting 30 x 60 cm / 11,8 x 23,6 inches, oil on canvas (prefabricated, "Stylex"), 2020
Converted Chemical Laboratory with Storage Facility / Experimental Prize Pig Setting 30 x 60 cm / 11,8 x 23,6 inches, oil on canvas (prefabricated, “Stylex”), 2020

A painting, unusually tall (like modern cell phone), yet making up for tallness in smallness. Chinese inspired, in particular by the painter Shitao, the style being of course only a travesty of sumi-e, for the conversion into badly managed oil paints. Also, the painting ground in this case is industry-prefabricated and pre-primed canvas on stretcher, not paper scroll, hand mounted in fabric for either hanging in a museal context or storing in rolled form, stacked in shelves, to be perused by fellow art lovers, like books. However, the difficulties of endeavoring transformation and westernization by using oil paints on canvas make for intriguing results in terms of plastic surface effects (not well observable in photographic reproduction). A detail view shows better what is meant:

Observe how pencil line replaces insufficiently controlled brush strokes, creating not only optically observable lines, but also tiny grooves in the toothpaste-white of the supposedly tiled cladding of the storage building.

Please see also this post from 2009, with a design originally called “Bion Fermenter on the Eleventh Moon”, here moderately titled “Proposal for a Bion Conerter“.

© Torsten Slama and The Animal Welfare Society (Pig Dept.)

Recently, at the Model Toy Car Convention

June 28, 2020
Un Re in Ascolto / A King listens
At the Toy Car Convention / Un re in ascolto, 2019, pencil and pastel pencil on tone paper, 22,9 x 31,8 cm / 9 x 12.9 inches

Certain display options do not work due to conversion to a block type page set-up model. A new template ought to be chosen. This drawing belongs to a group of smaller and well accomplished drawings made in 2019, which deal with the topic or the author’s personal endeavour of a return to the human figure (after several years or a decade of abstaining from the depiction of human figures). Note that the human figure is a very dangerous item to depict. While from an Islamist perspective, you defy God’s will, in Western society you make certain dangerous statements with each attribute you choose to endow that figure with for the sake of desired or presumed realism. Class, as demonstrated in dress, skin color, sex, all such things have become contentious due to identity politics. It is easy to hurt someone by callously laying open the fact that the author’s inner society might not contain certain sub-species, gender types etc. or might be in some other way testament to the power of categorization. This drawing features a dog-person (the inspector), an overweight person, an unclad youthful person. All, including the dog type seem to belong to the male category, all are united in reveration of a presumably newly released vintage car model (a 1:8 die-cast scale model of a 1910 Benz Limousine) – a fetish linked to a certain sub-type of masculine sexuality. Other interpretations or readings of this image are at the discretion of the observer. It ought to be noted that the dog type is a paraphrase of an original sketch by the author Wolfdietrich Schnurre, depicting an arrogant dog of breeding, featured in the 1962 novel “Die Aufzeichnungen des Pudels Ali”. In this scene, he might not partake in the reveration process, but acts as the inspector, the arrogant non-human agent, observing two employees of the model toy car company, who might be involved in a crime of sorts.


Future © of this nostalgia-tinted drawing by Torsten Slama and the Instrumentality of the Model Toy Car Board

Optimista bez otce – The Fatherless Optimist

May 19, 2020
Optimista bez otce / Der vaterlose Optimist / The Fatherless Optimist,
Optimista bez otce / Der vaterlose Optimist / The Fatherless Optimist (2020) Oil on canvas on wood, 43,2 x 30,2 cm / 17 x 11.9 inches

From the Czech-titled exhibition: Nové trendy v územním plánování (New Directions in Space Planning) – – – Please note: functionality of presentation assembly on this blog has changed. The author has stopped going with the times. If this painting is a self portrait, it depicts the author much younger and richer and happier than he ever was. Colors are not well reproduced, also, the details of how the paint was applied (loosely, rather thin, on canvas primed with the addition of lots of chalk, thick enough for the canvas structure to be neutralized) are not easily discernible. A detail view of just the face will show how much more interesting it would be to look at that painting in nature, and getting as close to it as no museum would allow for.

The Fatherless Optimist, detail

Note how lips look like either result of a bodged lip job, or as if befallen by herpes simplex and badly swollen. It means that what appears light hearted and almost cartoonish in character is actually realist, or rather, naturalist in nature, trying hard to depict the nature and the rot of actual human flesh. At the same time you find touches of graphics art or the art of illustration, like the hair, scratched in with the end tip of the brush’s handle. Is this painterly?

The 2020 painting is based on a drawing from ≈ 1994. Please see that drawing here: https://sites.google.com/site/wwwdrawings/home

© 2027 by Torsten Slama and The Optimist Society for Czech Heritage

The Abductionist’s House

August 7, 2019
The Abductionist's House, drawing by Torsten Slama

The Abductionist’s House, pencil, pastel on tone paper, 29,7 x 21 cm

Pink, magenta, purple, are the colors most likely to excite consumer interest. Colors of this family have the right temperature, are inviting, and compelling. While this fact was discovered by the comics industry in the 1950’s, it took very long to become common knowledge among mass manipulators. Certain snap judgments stood in the way. As to content, most notable elements besides this house (designed by a real yet long dead architect, not by the author) are the two dogs in the foreground, representing the two owners of this house (a hunter couple), and the unique pyramidic tree sculpture to the left. This is going to be patented and mass produced and sold cheaply to those who prefer a touch of class and artificiality in and on their gardens and lawns. Also, these can be illuminated from withing to become glowing tree shapes in the night. People will say: “Nice touch, we like!”. The house owners seem to be active and in attendance inside their lodge, see the smoke coming from the chimney, a prop element hinting at occupation.

Fore a change of viewing, go here.

Rendering © 2027 by Torsten Slama