Monthly Archives: January 2009

The plight of the US/World economy simplified for popular consumption.
saw a newly generated world economy, a doubling (or more) of all world
assets within a decade causing a glut of virtual assets that needed a
“real” object of value to be counted against so that the virtual asset
could be traded- and in being traded be cashed out. ie: legal money
laundering. These now hard assets were then traded within the corporate
banking structure, and none of it ever entered the public sphere.
International corporate banking systems determined that the American
housing market had the highest potential of providing the necessary tangible asset.
The housing market is then inflated to more than double for the maximum value
rollover possible, and more- and the mortgage industry ensures that
these homes are “affordable” to anyone removing all prequalifications.
The housing boom of the mid 2000’s is engineered to boom and bust well
within the time-frame needed to launder the entirety of the world’s
virtual asset pool.
Mortgage Buyers (no one bought a home during this time- they only took
over the legal responsibility of the house leaving the banking industry
to sell the diversified asset to another lender, leaving all banks in
the clear) refinanced the exploding value of their homes and bought new
cars, boats, electronics, traveled, and spent themselves out- then
refinanced and spent more. These Mortgage Buyers believed they could
sell the house at its hugely inflated market value and break even or
even profit further and consumed accordingly. A large amount of the
economy shifts to Home Building/Selling, and this liquidity drives
supporting markets, and large sectors of local economies shift toward a
closed loop that rely entirely on housing. This loop represents yet another virtual asset at a greater amount than the original, but is entirely smoke and nothingness and howling negative asset.
This market of residuals derived from non-existent home value creates
an immense ramp-up in auto production, fossil fuel consumption, and
every nick-knack that Americans cram into their homes, boosting
production worldwide and creating worldwide over-investment in
nick-knack production.
This entire new world economy stands on nothing, as the virtual assets
that started the boom never entered the economy. The economy of all
nations boomed on the value ascribed to American housing to launder and
clear the profits that existed before the boom began. Once the system
was in place however, the system was run beyond capacity to move the
newly generated ghostly smoke that inflated the “bubble wealth” and capture as much as possible before
it burst.
As the bubble burst, the only real virtual asset remaining was held
nationally by the Federal Government. This has been effectively liquidated as well, paid straight
into the same system. We won’t mention that the government is not using its own money, but is instead borrowing against the future of its citizenry. 
There is no possible recovery.
financial collapse is just a polite metaphor to the industrial grade devastation of the
entire planet, which is also beyond all recovery. Virtual toxic assets
are meaningless compared to the toxic reality, but gain meaning in that
toxic assets will only quicken the industrial engine that grinds
reality to its doom.
 -I must be a bit burned out on painting…

Read and post comments |
Send to a friend

This photo seems like it would make the candidate pool for  painting, but it is too deliberate and sells itself too readily. In the same manner, this explanation is a work in-progress.

“Proscenium” is a term from the theater that describes the “fourth wall” ie the invisible barrier that separates the play/actors from the audience. Inherent in this separation is also the audience’s “suspension of disbelief”- or allowing that the play has a certain reality that is self-contained. The ability to transport the viewer, through the complex synergy of adjusting the context of the viewer, is also part of the “Proscenium” concept- the magic 4th wall resonates on both sides of the stage.
The Proscenium paintings contain many “fourth wall” separations. Such separations include: the ideal Western landscape and the real Western landscape; the visually accessible vs the physically inaccessible; the passage of time moving the audience through a narrative/landscape; the outer world v the inner space of the car; the separation from the active forces of the world by the windshield’s invisible barrier; the illusion of safety and the nearness of death.
The original photograph itself is another removal/abstraction wherein the camera acts as an autonomic eye capturing vast quantities of imagery with an incredibly limited ability for the photographer (who is an appendage of the process) to adjust the image for composition, theme, time of day- a true snapshot aesthetic.  This process neutralized the photograph, allowing another layer of removal- which forces all choice and meaning to the painting.
Theater occurs in painting the image, as this creates the essential
access of an implied narrative.

Estrangement from the landscape is an essential aspect of the Proscenium series. A first motivation is also recognizing the demarcations of the heavily industrialized world that slip into every view, and not allowing the “suspension of disbelief” that removes these important signifiers in favor of a romanticized story of the West. The method for gathering the images follow certain parameters. The first is that I do not take the pictures- I drive the car at a steady 75+mph and Elizabeth shoots. My only direction to her is to shoot for landscape, and allow for everything that constitutes the landscape. This removal of myself from creating the primary images mirrors the separation of automobile travel and the travelers’ essential estrangement from the surrounding landscape. It also illustrates the disconnected abstraction of existence for the industrialized person, which in the Western “First” World is everyone.

 There is an implied complicit assent of burning the world down through existing as an American- the images are taken from within an iconic “American” car (assembled in America with parts manufactured elsewhere around the world), on an interstate highway system that reaches to every corner of the nation and is surrounded and inundated with petroleum and travel-based industries, the images are taken with a Japanese camera that will download images to a laptop which will download to a website, electronics which are powered through coal burning power plants, the paintings are made in a Hospice facility at a comfortable 70 degrees while the outside temperature is -34. That 104 degree difference is the fever-dream that shimmers in the mind: the real Proscenium that confuses the play of destructive progress with the industrial living death that is the common life of the Western World.

These Proscenium images are certainly Vanitas images in the painting tradition of the Memento Mori.
My own narrative of personal wilderness immersions v industrially hovering near the landscape (car travel) offers an underlying narrative to the reason for all the travel of the past year. The motivation of travel reaches toward the loss of a way of life and the loss of a way of being that is irreversible. This is the loss of the traditional American farm/ranch, which has been in my family on my father’s side for more than 100 years. In his lifetime the horse has been replaced by machinery, the self-sustaining ranch of dairy cows, chickens, and a vegetable garden being a part of the household has disappeared, and the lost personal relationship with nature as a living primacy in day-to-day life. The travel is due to the spread of cancer through my father, as certain and finite as the unseen forces that demand the existence of the ribbon of interstate and all that border it.

The unchecked exponential growth of the human race tears down the world, and as “natural resources” are compromised along with financial collapse the terminal rate of malignant human impact on the world  (the symptomatic issues of massive oceanic die-offs and dead zones and floating continents of plastic, melting polar caps, and the exploding extinction rate of every terrestrial life form- insects, animals, birds, plants), well, it is all too simple to compare humanity to cancer. A cancer that is entering a final stage, that will effectively kill the biosphere.

The Proscenium is the theater of the mind, the abstraction of soft thoughts to distract from the Real, encouraging the rapid dispersal and expansion of the all-pervasive cancer. In our long lived national fantasy of the untrammeled American West, this Narrative fantasy contains the sub-narrative of the Real.  One has simply to undo the magical edit of the mind and consider not only what is in the narrative of the painting, but the narrative of car, travel, road, infrastructure, and beyond these symptoms to the massive scale of destruction that allows any of it. In this way the intent of the painting can emerge.
The tipping point is long past, and humanity, like cancer, is incapable of halting themselves from destroying their host. Not a new truth, but an essential sub-narrative of the paintings that helps illuminate the direction they lead.

from 12/17/08:
In the span of June-Nov I found myself driving from KS to MT, MT to
UT, UT to KS, KS to UT, UT to MT, MT to UT, UT to MT, and MT to UT.
This time behind the wheel moving across the amazing Western landscape
juxtaposed itself with prior summers of mine as a mountaineer in Colorado, as
well as the time spent in the saddle and walking the expansive MT ranch. This past summer/fall road travel became my time in the
landscape- in the summer with the convertible top down, in winter with
the wind roaring through the holes in the old top with the sound of sitting near a small
waterfall- just enough to blur music to a background curiosity.
is an illusion that one is not really in the landscape, that the
windshield is somehow similar to a TV screen or a theater stage; but an
errant deer or antelope, or a patch of ice hidden in a tight canyon
curve, or a tire going, or engine trouble, or a truck drifting into my
lane- all possibilities of suddenly coalescing out of the odd spacial
warp of time/distance, emerging suddenly from the false security of the
illusory proscenium.

Read and post comments |
Send to a friend

This is from a photo of my sister and I with my father (at 42) when she was 12 and I was 10 in 1978. I started it yesterday afternoon and finished it this morning. Now I can see what is wrong with Karen’s face…man. Really can’t fix that without a major re-do. Maybe I’m the only one who sees it. yeah, right.

This afternoon I put in a few hours more and came up with this scene near the Idaho/MT border. The cold has settled in here in MT (-34!), perfect painting weather.

Read and post comments |
Send to a friend

the sun had set when I shot this latest version, so don’t believe what you see for color here…just figure that it didn’t go quite as poorly as it seems. Tomorrow I head back to the foundry for wax work, so it will be a few days before further changes occur. That should give it time to dry a bit.

Saturday I put in a few hours snowing a bit more on the central peak while E read out loud from our sheepy mystery: Three Bags Full. Today (Monday) I added in the power station and the row of bushes in the morning, then remembered I hadn’t taken a picture of Saturday’s changes. 

The relative abstraction of the forms from the underpainting winding through the foreground are quite a nice contrast with the storm/peaks,

The storm begins to emerge from the underpainting…I introduced another blue to the palette.

The underpainting sets the composition and tonal notes. I mixed piles of neutrals with the pallet knife using brown, blue, ochre, and white.

Read and post comments |
Send to a friend