Natural Gas Generator for the Eurasian Market

Waukescha Natural Gas Generator for the Eastern European Region and Asia (45x34cm, oil, spirulina, and glitter pigments on canvas mounted on wood)

This painting, as subtly alluring in its pallette as in the choice of special and unusual pigments, cannot be adequately represented in photography (even when captured with a sensor especially suited to register finest colour nuances without sacrificing exactitude and focus). In fact, even the human eye is a sensor too coarse and surface-bound to understand that painting in this case is not only the coating or covering of a surface with paints of appropriate consistency and opacitiy in a way which concentrates too much on the where and too little on the when, but the loving and time consuming application of a multitude of layers of different degrees of opaqueness or transparency. The ultimate goal is not recognizable or symbolic representation, but the creation of an image with depth, in which even the first insecure tracings and irregular activities of a tentative and searching brush are still detectable under a potentially limitless number of successively applied layers, each adding its own share of happy accidents. The resulting depth is never a strictly two-dimensional and optical phenomenon. The true painting of value always has unique and custom made surface characteristics. The author of this painting is indebted to the teachings of the late Bob Ross, but chose to go the way of stretching production time instead of compressing it. By doing so, he could circumvent the adverse effects of a rushed production, namely that the perceived overall quality of the product suffers under a glance more scrutinizing and resting than fleeting and cursory. This painting is intended to satisfy on the happy accident level as well as on the level of more method-result based western observation systems striving for overall recognizability, structure, and order.

More content related thoughts about the desirability of finding interdependent grid solutions for the application of small unit solutions to medium scale energy requirements over unified and in most regards more hazardous, if theoretically and practically more efficient, large scale energy production solutions, will not be amplified upon here. This space is dedicated to the discussion of technical merits of the painting, not of the depicted object and the ideas it represents.Atmospheric rendering © 2021 by Torsten Slama and the International Interdependent Energy Grid Board

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The Sirian Experiment

St. Paul’s Church, Schwenningen, with early BMW Motorbike (42×29,7cm, pencil and coloured pencil on paper, 2015)

The image above depicts a worship centre of the heliocentric kind, devoted to adoring the heavens and everything above. An art work was commissioned to make a visual statement about the function of the building. The artist decided to create a holographic projection of unclear direction—a wavelike pattern is discernible, one assumes that there is some kind of dynamic involved, but it is not clear whether the waves are undulating in a downward direction, sent from some heavenly entity, or whether they are going up, towards said entity. Also, the waves are banded in a multicoloured fashion, but clearly not following the known order of wavelengths in the visible electromagnetic spectrum. The colours in which they present themselves (or, are presented) seem to follow an unfathomable (artistic?) taste pattern, which however might hypothetically be based on some scientific principle on the level of quantum mechanics. (Theologians across the world are very enamored with quantum theory, as quanta are known to behave erratically, contrary, obstinate, and wayward, when observed by a merely human observer. They do that on a basis of knowing things before they occur, communicating (?) with each other on a pre-emptive timeline, in short, displaying many characteristics of Godly perfection. Thus, in an ontogenetic system of proof, they are showing exactly that which God must possess, which shows that he, she, it, must exist.)

As an afterthought, the artist added a floating three-dimensional optical illusion to remind human observers of the futility of observation, of the necessity to stop observing and start worshipping. The progressive parson to whom this church was assigned parks his vintage BMW motorbike in front of the church to remind his parish of the parallel nature of worldliness and spirituality, the necessity to practice parallel thinking.

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“I remember […] reading an agreeable tale about a species of highly intelligent giraffes who travelled by spaceship from their solar system to ours, to ask if our sun was behaving cruelly to us, as theirs had recently taken to doing to them.”
(Doris Lessing)

“Je n’avais pas besoin de cette hypothèse-là.” 
(Pierre-Simon Laplace)

Illusrative sketch and explanatory note © 2017-2021 by Torsten Slama, Critical Heliocentrics Society