Perspective French Escapism Liquid Painting By Scott Richard

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FRENCH ESCAPISM & LIQUID PAINTING, by scott richard

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posted by alias torbakhopper on Sunday 18th of June 2017 12:00:31 PM

liquid painting is an underexplored painting medium that is based on TRANSFORMATION and the journey is documented with a camera. that is, a painting becomes like a movie and the photos of the movie are like clips from the reel. i first started LIQUID PAINTING about five years ago. i was painting dahlias and was impressed by their basic architecture. and then i wondered what it would be like if they exploded. and in turn, how a dahlia exploding could become a nonviolent metaphor for the life of a human. but the drawback to this metaphoric interpretation was that it looks like endless wallpaper samples in every imaginable color palette ever created. so it was good for that -- making every possible color combination in time and light with tones, shades and tints. and almost no one works with the entire color spectrum inside every piece. this is because the whole color spectrum in every piece is a bit like a circus. it confuses the eye and makes it very difficult for the viewer to find a centralized focus. after all, that is the PURPOSE of limited color palettes. commercialism knows this better than anyone these days. in an attempt to explain these sorts of things to my best friend (who really never listens much to me at all -- which is wonderful, albeit frustrating in rare moments), i gave up with words and started to just make paintings. we'd just been to a monet show at the legion of honors and i was trying to explain how so many ideas people had about IMPRESSIONISM was based on criticism and not experience. for example, most people don't understand how much PHOTOGRAPHY and the camera obscura had affected people's ways of seeing. i'll post that essay down below so as not to have to repeat it all here. suffice it to say that the dagguerreotype had left the painter with two realities that couldn't be ignored: the first -- the deletion TECHNIQUE the second -- there is no black in reality. the first technique liberated the painter's eye from FAITHFULNESS to actuality. it allowed the SUGGESTION of something to be something. APERTURES could only focus on select objects. painters had never explored this before in their work. suddenly the idea of a tree was more powerful than the most PERFECTLY REVEALED tree. and this was mad crazy and powerful. i have started a BANNER STYLE form of photography that explores this concept. i call it BEYONVISIBILITY. beyonvisibility uses the banner length of the horizontal image to create collages of related subject matter. for example, GENTRIFICATION in san francisco is like a war. you can't see this in single photos. but when you see the work sites from multiple vantage points, the reality of something and what's in between in it time and space becomes correlated to MEANING. and that is the power of the camera. it is a WEAPON of surveillance and perspective. sidenote -- this is EXACTLY why cops with bodycams is not a great idea. the SINGLE POINT OF VIEW PERSPECTIVE is literally incredibly fking deceptive. think BLAIR WITCH PROJECT. it's a total hoax. anyway, those were the two gifts of the camera that transformed painting. no one really jumped into the philosophy or gave much credit to the camera. but it was the camera that MADE IMPRESSIONISM. and as i was drawing my IMPRESSIONS of impressionism, i realized that there were deeper underlying tenets that also gave credence to impressionism. the first one was a PRE-ELECTRIC world. the advent and access of/to electricity changed the world. but before this change, the impressionists, who were desperately trying to get their work into the homes of the rich and famous (aren't we all!), figured out that the brighter the light on a painting was, the better it could look inside a non-lit interior home space. so it was FUNDAMENTALLY a sales tactic to brighten and lighten indoor spaces. and what sells with these conditions? TOURISM AND LEISURE, obviously. and this is the big secret. it dawned on me quite naturally in the process of trying to STORYTELL the color issues. and just so you know, the color issues are about TONES. before the impressionist era no wide school of art had realized just how many millions of new pixels you could get if you mixed different shades of gray with prima chroma. take a very white gray and mix it with a hint of yellow or brown and your sky will light up like it was on fire. if you just use white and the prima chroma, you'll get a tint, which will never feel ELECTRIC like a a prima chroma that is mixed with a TONE. anyway, the cinematic quality of storytelling with people and an imaginary land where it never gets cold and women can walk around anywhere they want at any time of day without being raped or harmed or affected by male monsterness gave way to the birth of the Dopaquel Peninsula. the Dopaquel Peninsula is the land of antipsychotic tranquility. all the villages and landmarks and rivers and places are named after popular antipsychotics.

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