The Constitutionalist

The Constitutionalist, 40 x 29,9 cm, pencil, colored pencil on paper

The Constitutionalist, so-called to uphold the value of a carefully set down list of fundamental values and principles according to which a state is to be run or governed, is seen parking in front of a railway station called “Rheinburg”, symbolically so, as the river Rhine is the traditional geographical border between western civilization and the teutonic netherworld, unconstitutional “Hel”. Serving as a permanent control to the permanent control value of the constitution, a floating device in the shape of a futuristic world-lantern, casting its unreal and otherworldly light on the phallic orange body of The Constitutionalist. Ideas of heliocentrism, constitutionalism, anti-dyslexia, state controlled eductation and indoctrination, etc. are all the outgrowth of a patriarchal tradition, the eternal fight against gynaecocracy.

Dyslexia, a silent deviant, an underminer of understanding
Makes values crumble
The book worlds tumble
More proud than humble, as it is powerful

And knows its power well. But not from books.
It’s eminently practical, pragmatic, 
But also deceiving.

Know your enemy well, the cunning one
Who does not work with strategy,
Whose moves are based on instincts.

Honing in on the weakness of well-read intellectuals
Spineless thinkers who sold out to the written word

Rendering © 2027 by Torsten Slama, “March Against Dyslexia”, poem by Torsten Slama

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The Carl Grossberg (The Rift)

The Carl Grossberg, 48 x 36,5 cm, mixed media on yellow tone paper

A detailed, if slightly crammed drawing with the theme of what our world would and could have looked like if energy independence, chemical independence, transportation independence and true man-nature metabolism had been the goal of industrialization. The drawing could also be an illustration to a treatise on “The Rift” (in the universal metabolism of nature), as described by Karl Marx. Not that the artist is deeply informed on the subject. In fact, any assumption of true literacy in any genre is categorically refuted (in accordance with the law of humbleness and common sense). Embedded in the rocky landscape background are several stylized coal liquefaction plants or chemical factories, tubes and pipelines, and one motif from a painting by Carl Grossberg (Fabriklandschaft im Schnee, 1923). Of course there is no snow here, as in fact the yellow color of the cardboard on which the scene was drawn evokes impressions of a slightly murky,  warm climate (perhaps of the inner earth) with sunlight filtering through a crack in the rocky ceiling, further muted by an emission-saturated atmosphere.  The drawing consists of several layers of pencil, colored pencil, washes of acrylics and different reflective and metallic pigments on a base of human spittle (which are in fact all but invisible.  Note that the “inner earth / Hollow Earth” theme has all sorts of connotations, historical science fiction ones as well as the psychoanalytical/gynacocratic/chthonic idea of earth as a womb. It seems in any case appropriate to annex a quote by Bernard Herrmann, wherein he describes his ideas about scoring the Filme “Journey to the Center of the Earth” (1959), since that film features landscapes not unlike the one depicted above: “I decided to evoke the mood and feeling of inner Earth by using only instruments played in low registers. Eliminating all strings, I utilized an orchestra of woodwinds and brass, with a large percussion section and many harps. But the truly unique feature of this score is the inclusion of five organs, one large Cathedral and four electronic. These organs were used in many adroit ways to suggest ascent and descent, as well as the mystery of Atlantis.” Drawing and words (except for italicized words by Bernard Herrmann) by Torsten Slama>

The Kraftick Liquefaction Plant

The Kraftick Liquefaction Plant, 36 x 50 cm, pencil, colored pencil on tone paper

“When Germany still strived for complete autonomy and independence of Western (and Eastern…ed.) influences, coal hydration technology was one of her attempts to realise complete energy independence. Had the hydration plants not been completely eradicated by the end of World War II, their gasoline output would have served Germany’s entire private car fleet well into the 1960’s. ”  National Empowerment through Petrolum (NETP)

Apart from all its pertinence to energy empowerment stratagems, this drawing should be judged on its artistic merits and technical peculiarities. Mixed media technique on tone paper makes for interesting depth effects. The pervading pink motor oil atmosphere is sometimes fought back, at times heightened. Some of the liquefaction towers are aslant. The geological rock formation on which the plant rests seems unstable. Even the thick concrete platform on which all rests cannot prevent warping. Yet maybe the warping is only in the eyes and the hands of the draftsperson. Or perceived aslantness could be an optical illusion due to the diagonal dynamics of the rock-layered landscape in the background, which works against the perpendicularness of the liquefaction towers.

In a special effort to facilitate appreciation of technique, two details are included:

   
Future © of this motor oil colorized drawing by Torsten Slama,the Energy Independence Society, and the NEPT yet undisclosed

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

The Dedicated Engine

The Dedicated Engine (The Jane G. Goldberg)
Pencil, couloured pencil, gold leaf, 36.5x48cm

Thrusting, trusting, elongated, phallic, dedicated, this engine seems to go somewhere. Yet the composition is static. The engine was copied from one originally painted on glass, perhaps for a magic lantern, which originally bore the name “Little England” on its golden nameplate. The artist decided rather whimsically, truly quite in earnest (though jesting, maybe as a means for self-protection), to change the dedication to “Jane G. Goldberg”, after watching all available sessions of her televised group therapy show on a well known, cheap, as in free (or ad-financed), resource for online videos. Jane G. Goldberg, apart from being a real analyst of the Freudian school, also has a holistic day spa called La Casa Spa and Wellness Center, where amongst other things, one can get one’s colon cleansed, have other things done, and emerge hopefully rather cancer-free, fit for the future allotted to one. Dedications are something questionable, especially unsolicited ones. The author would profess shyness and insecurity about own worthiness as reasons for not seeking such authorisation. The background to the proud engine: a hydrogenation plant for coal liquefaction, either Bergius or Fischer-Tropsch style, ironically rendering coal, which makes the dedicated engine run, into petroleum, to make cars go. Thus the path into the future is opened. A future which now belongs to the past, even though the way to go, electric propulsion, is of course mostly a sham, a magic trick to evade the problem of nuclear fusion or some such groundbreaking thing. The whole further background is a landscape in the Chinese style, with two buildings of unknown purpose, fog, rock, and firs. The entire work forms a kind of stump or rump for a whole holistic world view, such as art should strive for. Stress release (and build up),  homogenisation, liquefaction, bowel maintenance, mental control, control functioning, anger management, again liquefaction, energy management, etc. are all the core techniques which ideally should join to form a true society for all, a universe for worthwhile existence, not only in life, but also in death or near-inertness (or extremely slowed down or procrastinated reactiveness), as is the life of a tree, and then, at the furthest end, a rock.
Future © of this atmospheric rendering by Torsten Slama and the Group Therapy Board

The Liverpool

The Liverpool (after Cuthbert Hamilton Ellis)
Pencil, Coloured Pencil, 40×29.7cm

This drawing’s slogan:  “The good old times weren’t good, just old”.  Someone said that and it is not at all clear what they meant. It seems to be something you say when you want to be philosophical, maybe nearing the end of your own time. The steam locomotive stands for old values, which are not good, just old. In truth most friends of steam believe yes, the values are good, not old. The steam engine also is something which enthusiasts describe as an object evoking ecstatic feelings of awe when first beheld. It hisses, has pressure, is a promise of good and functional sexuality. The image of the steam engine says more in the realm of culture, symbolism, and pictorialism then in terms of the actual object depicted. It says something about the owner or the creator of the image. Or rather, it used to say something. Today all is possible, or nothing. Please note the unpainted or stripped totem pole which does look slightly cock-eyed, a phallic symbol introducing the element of anachronism and dislocation. The flying object is perceived by some as a pill of  the capsule type, it is rather an oblong paraphrase of something spherical, a type of artistic quote. UFO enthusiasts know the artist referenced. Mostly everybody else also. An anagram: GREATER MIENT.  The creator of the totem in the foreground is an anonymous North American Indian. Or rather, this totem is actually a faux totem, as it has different parts from different totems, rearranged, and an atypical base construction. It is possibly hollow and made from acrylics. The creator (engineer) of the Engine is unknown to the author of this drawing, but surely known to the creator of the original painting this drawing pays homage to. That painter is Cuthbert Hamilton Ellis, who usually knew a lot about the engines he painted, as he was seeing his paintings really as substitutes for colour photographs in his learned books specializing on Edwardian railway lore.
Rendering © 2021 by Torsten Slama and the International Steam Traction Board “The good old times were not good, just old”

The Engine of Confidence

The Confident Engine (after W.W. “Bill” Stewart). pencil, coloured pencil, acrylics, 40×29.7cm

This drawing is based on a painting by the late New Zealand railway painter W.W. Stewart. The New Zealand railway station  and the engine was transplanted into a landscape of possibly Triassic character and the people decorating the scenery were eliminated. More specific information about the engine and the railway line could be obtained by a knowledgeable New Zealand railway buff. This artist, in full possession of his artistic prerogative to be weak-suited in terms of research, failed to do so. The copycat artist, having confidence issues, wants to strengthen the impact or poignancy of his drawing by adding the following impromptu piece of poetry (please observe the judicially placed punctuation; a mark of poetry):

Go, Engine of Confidence,
Go your way.
Unencumbered by self-doubt
Say it loud!
You have no capacity for self-doubt.

You are long in the tooth,
wide in the hip
You go on every trip
With confidence.

Engineered to do your best
Not concerned with all the rest
Your path might be crooked
Perspective unsound
Your wheels go round and round
Until you stop.

You are the horse of steel,
A projectile
In fashionable livery
That is your way
Oh could I be
Like you.  Atmospheric rendering © 2021 by Torsten Slama and the International Steam Traction Board

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 execution 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

Planetary School for Youth-Oriented Teachings of Right and Wrong

Hardt-Waltherr Hämer, Juvenile Delinquent Youth Project,
Ingolstadt, 1962-66 (A3, 2016)

This voluminous structure of concrete and gold tinted glass is located in a progressive settlement called “Ingolstadt” on a far-away double planet in the system of the theoretical Öpik-Oort-Cloud. The building is fashioned as a life-size replica of the actual edifice, the municipal theater in the city of Ingolstadt, Germany, Earth. The building itself is rather imposing, especially in the realm of the horizontal, but this aspect of massiveness has been nicely set off with an arrangement of haphazardly placed street signs of unclear meaning, and a carefully unfinished look of the surrounding street scenery. Also a meticulously arranged add-on to the composition are the two vintage motor-bikes of German make parked in front of it. They belong to the school’s most progressive teachers, one fatherly male religion teacher, and one instructor  for violence-free negotiation techniques of uncommitted gender. The helmet placed to the side of the motor bike in front serves as a signal of trust. This is a theft-free zone. Looming over the horizon, the second planet of the double system, which is also earth-like, with vast and mostly untapped supplies of oxygen and water, left unsettled, serving as a recreational area for the partner planet. In the sky, floating over the school, a general semantics surveillance unit which  scans the whole perimeter of that school for occurrences of plain right and plain wrong according to objectivist criteria. The  gold-tinted glass panes of the building reflect the surroundings in unclear abstract configurations while still giving a hint of transparency. This atmospheric rendering © 2021 by Torsten Slama and the Progressive Society

Women’s Medical Centre with First Motor Driven Vehicle

Women’s Medical Centre with 1886 Benz Patent-Motorwagen by Rheinische Gasmotorenfabrik Benz & Cie. (Pencil, coloured pencil, acrylics, shellack. A3, 2013)

Depicted is a medical centre exclusively for women, offering medical treatment for diseases of the female genital apparatus and applications of advanced pro-choice technology. The Benz three-wheeler parked in front of the clinic is a permanent installation reminding of a period where men were still relatively unchallenged in their claim over the field of artificial invention, as opposed to “natural” creation, the female secret, Bachofen’s swampland of unlimited fertility.

The staff of the medical centre elected to dedicate their institute to the renowned Scottish electrical engineer and laser scientist A. Catrina Bryce. The official designation for the institute is thus: Women’s Medical Centre “Ann Catrina Bryce”. A schematized, floating model of the laser was chosen as the sign of the centre, at night emitting a beam searching the night sky, reminding the nearby female population of the fact that now women are in control of phallic technology, putting it to empowering pro-choice use in advanced abortion procedures and the use of carbon dioxide (CO2) laser beams to vaporize abnormal cervical tissue. The spiral shape of the laser emitting beacon refers to one of the oldest symbols concerning everything anti-phallic, also alludes to contraception via Intrauterine-System (IUS), or Hormonic Coil.Illustrative sketch and explanatory note © 2013 by Torsten Slama

Dionysian Cult Centre with 1911 Renault 2-Seater

Dionysian Cult Centre with 1911 Renault 2-Seater
(297 × 420mm, pencil, coloured pencil, acrylics on paper, © 2013 by the Tellurian Society)

The title and conceptual framework of this drawing ought to be understood before the background of Johann Jakob Bachofen’s work on matriarchy and gynaecocracy, Das Mutterrecht. According to Bachofen, human civilisation went through three stages: a wild nomadic, tellurian stage, the “lunar” period of female supremacy, then the backlash of the Dionysian period, worshipping the phallus, favouring the anus over the vagina, favouring intoxicating masculine wine over female milk and honey, followed by the Apollonian period, modernity, the age of reason and necrophilia (now in a process of dissolution, entering the enigmatic, presumably female, Aquarian stage).

The depicted cult centre is of the Dionysian-Apollonian type*. It offers safe outlets for the Dionysian impulses of domesticated Apollonian Males. Wild, intoxicated, sex-crazed orgies are not to be expected here, these are relegated to Bacchantian cult centres, the dance-clubs, as opposed to the model railway, antique car, or life steam clubs, which are all part of the Dionysian-Apollonian category. This Dionysian Cult Centre is a place where playful, supposedly harmless necrophilia is taking place. Necrophilia is the supremacy-oriented form of sexuality ascribed to men by the combined forces of Dionysus and Apollo. We ought to bear in mind that quartz watches, pocket calculators, microcomputers, laptop computers, tablet computers, cell phones, “smart” phones, and many types of cars and mechanical devices (also child pornography and tame popular music) are all part of the large necrophiliac outlet device network for Dionysian impulses. Soon these cult centres will be demolished all over the world, relegated to the dust heap of history, as we enter a new age which will put an end to the ill-regulated sun-worshipping** Apollonian rationality so inseparably tied to frenzied Dionysus, and bring forth the real, biophile rationality of the well-regulated, tellurian woman-god-serving era of the moon and the atom again.Illustrative sketch and explanatory note © 2013 by Torsten Slama

*In fact, the author is struggling here with the drawing’s title. It seems that what is depicted is clearly an Apollonian-Dionysian cult centre.

**See also Lewis Mumford’s concept of sun worship, worship of speed, empty space.llustrative sketch and rumination © 2013 by Torsten Slama

Multi-Purpose Worship Centre “Sindelfingen”

Multi Purpose Centre “Sindelfingen”, 2012, Oil on canvas, 40,3 x 53,3 cm

This former motor hotel was acquired at an undisclosed date by the Illusionist Society Sindelfingen and converted into a multi purpose and worship centre. All kinds of gatherings are taking place here, suitable for all age-groups and with a clear anti-violence bias. All community gatherings are thus designed to be completely pressure free, allowing all kinds of individual expression, from introvert brooding to carefree dancing. The only commandment to be followed is that of interdependability, that is, everything is done with the fellow creature in mind. Animals and plants are always included in the gatherings, preferably in their actual form, or at least in effigy. It follows automatically that whatever is taking place in this centre is always in accordance with known Tellurian principles. The centre therefore forms a spiritually viable alternative to the city church. The layout is strictly Tellurian: the horizontal plane is for togetherness, the vertical form for compartmentalized administration and individual accommodation purposes. Two crystal shaped monitor probes made from space-age UltraQuartz™ sheets are homeostatically designed to use solar irradiation for buoyancy.Painting and explanatory note © 2021 by Torsten Slama and The Illusionist Society/Hekate Sibonga (Dir.)