Archive for the ‘Ugrino’ Category

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

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The Jansenist Engine

December 30, 2017

This reproduction perhaps does not do full justice to the original drawing, which has a rather unusual tonality, based on the blending of so many different brands, types, and colors of the colored pencil variety, all superimposed on an already well-finished pencil drawing with rather profound dynamics in the darkness-lightness range. Thus, the result is very much like a colorized black and white drawing, giving maybe the impression of a very early experiment in colour reproduction. The thematic dedication is referring to a Catholic theologian movement which enjoyed its phase of greatest vivacity from ca. 1660 to 1700 AD. Even though the movement played itself out predominantly in France, it was based on the teachings of a Danish theologian, emphasizing, in typical Nordic fashion, original sin and human depravity. The ?-voiced Commentator “ex”plains: this engine is a very impervious juggernaut, clad in different metallic alloys, being, say, indiscernible to radar, impenetrable by all sorts of electromagnetic radiation, shielded towards the degrading effects of human depravity and all varieties of human frailty. Any kind of believe in a superior being is something like a mental armour, shielding one from the hopelessness of mortality – the machine is a materialization of the urgent desire to overcome death. People often choose suicide to overcome death. They resent their mortal bodies. They would like to have their unique minds stored in metal cylinders — so, in a very roundabout fashion (or in a very allegorical fashion, or maybe in a very freely associative fashion), this drawing could also be called “The Whisperer in Darkness”.

The engine depicted here thus might be the metallic encasing for a human soul, moving through an archetypal, pagan, or, perhaps, Stygian highland (the Gaelic haven to the Teutonic type, disappointed with their own version of  a heathenist anti-western world), along some loch, or firth, or estuary, a landscape which might have formed the background to the most impressive feats of early Catholic Christianization, or Westernization.

*On a different and technically more feasible note, the metal cylinder integrated and made ambulatory in the Jansenist engine could also serve as a container for dead bodies (perhaps forever harbouring their souls, even after death), similar to the completely hermetic wood, metal, and wax coffin prescribed for the burial rites in Hans Henny Jahnn’s Church of Ugrino. As Jahnn, author of the deeply hermetic and religious novella “Das Holzschiff”, was himself buried in such a coffin (to prevent his holy body from rotting) it also becomes clear that the Jansenist link was solely associative, because the Jahnnist motif was still hidden in the background. Both spiritual positions describe that which was not embraced by the Catholic Church. Future © of this nostalgia-colorized drawing by Torsten Slama and the Society of Clovis yet undisclosed