The Unexamined Brutality

The Unexamined Brutality (of the male Libido), 70 x 50 cm, Oil on Canvas

This painting seems to hark back to times when the male libido was seemingly more unabashed and comparative innocence (or unabashed guilt) reigned the abusive intercourse between the sexes. The aesthetics are reminiscent of surrealist inspired propaganda imagery. Phallic forms abound. One sea shell stands, or lies, in lieu of the womb. One could argue that the central phallic form of the outer shell of the engine’s boiler is actually esemplastic in not only being the threatening phallus, but also the tubular receptacle hollowness, awaiting the phallic thrust of another longish form entering (see the old chuckle arousing locomotive/tunnel imagery). The ?-voiced Commentator “ex”plains: seeming nostalgia for simpler times does not thinly veil, but starkly outline the fact that we today live in the age where all old violence and abuse bears fruit. The true objectification of the woman takes place in the immediate future which is our presence. Groping will soon be replaced by more sophisticated (and cowardly) methods of abuse. Think about artificial intelligence being furnished with female faces, names, voices. Some are discussing whether these undead freaks should be taught to give more assertive responses to weather queries mixed with risqué innuendo and sexual abuse. Few discuss who decided that “virtual” assistants need female voices and whether it is not a very small step for the brutality of the male libido to then confuse the (universal) assistance offered with the liberties allowed by sex-slavedom.

Observe the more hopeful aspect of the depicted scenery, embodied by a disinterested spectator, a floating space vehicle in the rose tinted sky, watching the travesty on the ground with detached amusement. Maybe the dream of space insemination is not so very unbrutal. The shape and form of the device and its detachment, however, might be. The utopia offered by space.
Future © of this nostalgia-tinted painting by Torsten Slama and the Instrumentality of the Model Railroading Board

Advertisements

Mannaheim Progressive Pro-Choice Clinic

Woman’s Medical Centre with 1886 Benz Patent Motorcar (Oils on canvas on wood, 50,3 x 62,8cm)

Photographic reproduction of a painting which is positioned  somewhere on the borderline demarcating the difference between the entirely satisfactory with added interest, and one of the lesser efforts in the field of true painting. Due to experiments with the preparation and priming of the canvas, the behavior of the paint was unexpected. Thus the ebetweenxecution lacks fluency. The technically inferior quality of the photographic reproduction adds to the impression of a very strange atmosphere permeating the picture, ambiguously oscillating between  moodiness and Objectivism. The symbolism; moon, spiral, car, and brick, is rather balanced, but with the addition of some sea shells, it is clearly shifted into the realm of female reproduction. (Of course, this is based on highly untrustworthy  assessments of gender-classification of objects. Ed.)

The building does, or at least did, actually exist, somewhere on the British Islands. The photocopy of a photograph of the building from a book on Brutalist architecture garnered at the Düsseldorf Central Library some 25 years ago exists, yet, due to negligence, lacks any inscription for further contextual elucidation of the source. So neither information on the architect nor the actual location of this interestingly proportioned edifice can be provided, much to this author’s disgust.

This painting is based on that drawing. Drawing is finer, possibly more accomplished. Yet the painting adds something. Mostly it adds the je-ne-sais-quoi. Painting and explanatory note © 2021 by Torsten Slama and the International Pro-Brick Society IPB

House for Quasi Phantom Regions

Country House with Hip Roof B 8090
(Oils on canvas on wood, 50,3 x 62,8cm)

This house is for the lover of open country, but with no need for the flora and fauna usually associated with it. It is a house for the Frommian necrophiliac. This country lies on the surface of a planet roughly the size of Earth, but much heavier and with a very thick, almost water-like foggy atmosphere. Consequently the ground resembles the deep sea floor on Earth. A hint of some form of vegetation, either aquatic or coniferous can be surmised or easily dismissed in the milky background. Tastefully arranged on the premises are one replicated Silurian nautilus shell, various simplified crystal sculptures made of polymethylmethacrylate coated with transparent SiO2 thin films in hues of yellow, pink, and green, and several geometric primitives of synthetic plaster. The house itself is the sparsely ornamented, simplified version of a terranean postmodern country house catering for the aspiring single person or couple in the lower medium affluent income range and has the catalog number B 8090. It is especially suited for the writer of semi-popular fantasy novels. Note that it comes without garage, as such is not necessary on a planet without any destinations to travel to. The windows, though ostensibly made of some glass-like material, are either covered from the inside with blue boards, or the whole house might be filled with some blue tinted medium or nutritive solution. The inside of the house might be dark, artificially illuminated, or not existing. The owner or owners of the house might be immaterial, but still in need of spiritual nourishment, provided by the large space crystal floating in the dense, soup-like sky. This atmospheric painting © 2021 by Torsten Slama and the Fantasy Society

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