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Perfect North Ski Resort VII, Oil pastel on metal, 8" x 10", January 29, 2017
Perfect North VI, Oil pastel, 20" x 16", Sunday, January 25, 2016
Video that inspired the piece:
Perfect North V, Oil pastel on metal, 20" x 16", Sunday, February 8, 2015
On March 15, 2014 Tom was skiing down Center Stage and fell breaking his left leg at the knee. After knee replacement surgery he now takes his daughter to the slopes and paints the hill that took off his leg. Tom is an arm chair expert about Herman Melville and Moby Dick hence it is apropos that he sit and paints the great white that took off his leg and replaced it with a bionic peg leg. Not feeling the lower left of the leg it is like a wooden leg.
This painting represents the highest level of Tom’s work. The simplicity, elegance, size and excitability bring joy to the artist not unlike a good meal after a hard day’s work. What is it with these colors? Everyone plays a larger role. Each one jumps off the canvas as a soldier ready to go to work. Heretofore Tom worked on eight by ten metal canvases but this work went through a difficult passage. On a trip to Columbus, Ohio in the winter of 2015 looking to paint the Santa Maria a replica of Columbus’s craft duplicated by master ship builders then cut apart to be trucked to Columbus. The ship was gone during reconstruction of the Scioto River Harbor. Tom went looking for another view of the river and landed at the Grange Audubon Center. Tom needed an electric outlet to paint and there turned out to be one right next to a park bench outside the center looking at a pond overflow of the river. The canvas never came together. Then Tom took the canvas to Perfect North Slopes to change the painting into the slopes.
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Perfect North Slopes IV, Finished Saturday, January 24, 2015, 8" x 10" x .016” x 2 oz., Oil pastel on melted on shiny duct metal. Framed in a Neapolitan style simulated gold leaf over clay over wood with no seam in corners weighing 2.5 pounds
As Tom’s daughter skis he paints the slope that took off his leg. Tom is an arm chair expert in Moby Dick and Herman Melville. He always had this nagging anxiety that someone would suffer a debilitating injury. Little did he know that it would be him? In an instant his leg was severed at the left knee from a crossed ski on a steep slope. He was not going that fast but then the knee is the weakest joint and was bent at in just the right way to sever and damage the knee to the point it was better to replace the knee than repair it. Now Tom walks with a bionic peg leg just like Ahab. The big white took off his leg. Tom does not envision a vendetta against Center Stage at Perfect North Slopes like Ahab’s rant against Moby Dick. In this painting the great white dominates the painting. In the distance you see the snow free forest with the red leaves and ochre grasses. In the foreground a stand of small pine trees lets you know a gully is near. This work is in preparation of the Moby Dick painting, a composition with Moby Dick in his full form completely out of the water coming down on Ahab and his devil crew splintering their whaleboat.
Finished Saturday, January 24, 2015, 8" x 10" x .016” x 2 oz., Oil pastel on melted on shiny duct metal. Framed in a Neapolitan style simulated gold leaf over clay over wood with no seam in corners weighing 2.5 pounds. Can be shipped in a box 20” x 14” x 4” weighing 3.5 pounds. Work can be purchase without the frame shipped in 15" x 12" x 4" box weighing 2 pounds. Shipping is not free as listed in shipping. Packing and shipping fees to be determined. Painting can be picked up in Cincinnati for free or delivered by the artist within a two hundred mile radius for a determined fee.
Brief History of the Artist/Scientist
Tom Lohre learned by living with a master portrait painter R_. Searching for
new subjects, he painted the eruption of Mount Saint Helens while it erupted
from life, twenty miles to the south on Tum Tum Mountain. He also painted the
first space shuttle from life, 200 'feet from it, under armed guard, the day
before to took off. Besides painting portraits, Tom paints scenes from life.
Other rights and obligations between the artist and owner of the physical part of the artwork outlined in the Receipt of the Artworks Physical Part listed at http://tomlohre.com/contract1.htm. For any restoration and repair work, please call the artist.
Tom invented this painting technique. Tom melts oil pastels on metal by heating the metal. Once cooled the work will stay in place unless heated to 255 degrees, at 155 degrees you can manipulate the oil pastel without having the oil pastel move towards gravity. Run warm water over to clean, do not rub or brush, let dry and replace in frame. Do not touch the surface. The work should last for hundreds if not thousands of years if undisturbed not heated above 175 F and lit by indirect light.
Send an e-mail to be added to the database as the owner.
Perfect North Slopes III, Finished Tuesday, January 6, 2015, 8" x 10" x .016” x 2 oz., Oil pastel on melted on shiny duct metal. Framed in a Neapolitan style simulated gold leaf over clay over wood with no seam in corners weighing 2.5 pounds
After a terrible fall on the slope March 15, 2014, Tom retired from skiing for the foreseeable future. His knee replacement has regulated him to the job of reading books, sitting by the fire, gazing out the windows, kitting or painting in Tom’s case while his daughter skies. The funny thing about panting is that he needed a power outlet to run the heat gun he uses to heat up the metal to melt the Sakura oil pastels. Turned out that he was shorting out the sockets in the lodge till he found one that worked. This work shows the old leaves in the forest along the edges of the snow. Occasionally a line of trees pops up between runs still stripped of all life. In the foreground a line of pine trees separate the run from a gully.
Finished Tuesday, January 6, 2015, 8" x 10" x .016” x 2 oz., Oil pastel on melted on shiny duct metal. Framed in a Neapolitan style simulated gold leaf over clay over wood with no seam in corners weighing 2.5 pounds. Can be shipped in a box 20” x 14” x 4” weighing 3.5 pounds. Work can be purchase without the frame shipped in 15" x 12" x 4" box weighing 2 pounds. Shipping is not free as listed in shipping. Packing and shipping fees to be determined. Painting can be picked up in Cincinnati for free or delivered by the artist within a two hundred mile radius for a determined fee.
These colorful artworks are painted with blobs. Tom’s blob painting started
in 1980 when Tom explored the possibility of a machine that painted. He was
painting impressionistic works one right after another and thought he could
make a machine to do this. In 2003 he discovered Lego MindStorm Invention System
and spent four years learning the software. On January 5th, 2007 at 9 p.m. he
cracked the code to write a program that took information from an image in the
computer and fed it to a painting machine. The painting machine was a classical
assistant. It laid one of eight colors in generally the correct spot.
The painting machine needed a great stroke to be successful. Tom cannot remember
the exact time he thought of melting wax on hot metal to make a stroke. It was
a beautiful stroke with a velvety surface and heavy impasto. Sakura oil pastels
are melted and mixed into a certain color in a dish on a hot plate then sucked
into a brass tube, cooled and extruded. The Lego MindStorm Invention System
painting machine did ten works. The next painting machine will surf the Web
for a paintable image then paint it.
Now Tom uses the technique for his impressionist paintings. The painting is reduces the motif to nine colors in various blob shapes. Like color printing reducing realism into four colors he reduced realism to nine colors. Each of the nine colors selected set off an alarm in Tom’s head. After numerous attempts to expand or improve the color set he has not found the next formula. These colors are so important they need introductions.
First is white for obvious reasons playing the first in the gray scale, second is light yellow to be the next in the gray scale. All nine colors act as an incremental step through the gray scale. When photographed with a black and white camera the colors act as clear steps from white to a value nine. There is no color darker than a value nine because it keeps the painting vibrant. Darker colors pull the painting down emotionally. The light yellow highlights the face, creates the sun glinted land and acts as the yellow in clouds. Third is light blue playing a major role for sky and light shadow. Fourth is light green holding down the role of young growth and early shadow in the face. Fifth is yellow ochre is the third gray scale in the face as well as burnt grass and light wood. Sixth is Nantucket red is the fourth color in the face gray scale and if unique being the only red in the palette. It is blood, bramble and dark wood. Seventh is dark blue the third gray scale for the sky, early shadow for the face, periwinkle for clothes and reflections for water. Eighth is dark violet the first definer of cool shadow, black, hair and deep sky. Ninth is dark evergreen for deepest close shadow, black, dense growth and hair. It is hard to believe that with just these colors you can create full color and exact realism if you stand far enough away from the canvas. Once up close the painting becomes a bouquet of flowers.
Tom applies the special palette in various forms, oil paint, acrylic and melting fancy crayons on metal. Derived from his painting machine, melting oil pastels on hot metal took numerous steps. After retiring the painting machine that used the technique he adapted it for painting in hotel rooms since you could paint a lively impasto impressionist work without smell. At first he heated plastic sheets of Lexan on a hot plate. Through a mishap the sheet of ceramic he laid on top of a hot plate to heat the plastic evenly broke and he came back to a five foot blue flame. Freaked out since he was preforming this exhibition in a public theater he came to his senses and carefully picked up the hot plate and carried it outside. It is a miracle the smoke alarms did not go off. The plastic burned with such rocket nozzle purity he took it to be an omen.
Eventually he discovered you could heat up the metal with a hot air gun used to melt paint or a kitchen butane torch by heating the surface from the front, heating without moving the canvas. The painting machine heated the metal from behind and he developed three variations using hot plates and electric pancake skillets with magnets embedded in it to hold the metal. It was a nuisance to move the metal to the heated area since heating the whole surface for a long time deteriorated the wax pigment. Now the only restriction to larger works was the weight of the metal, a four by three foot piece of 28 gauge flashing metal weights fifteen pounds. Tom is currently cutting canvases off a three by fifty foot roll of roof flashing metal. Earlier he used aluminum. The shiny surface made an alluring addition to the canvas since it reflects light at the proper angle from the small spots not covered by pigment. The future is shinny aluminum cut from four by eight sheets.
Painting with blobs is reality. Composition and time of day establishes the painting. This new manner cannot change the situation. The gross manner lends itself to familiarity. The visceral manner guided by natural illustration makes everyone there. Each stroke takes on more significance. Reality reduced to something a printer would do but when the artist reduces the scene to a few blobs that still have the scene then now that’s painting. Each round edged blob means more. The blob represents the reality of painting in the classical manner. Strike while the iron is hot. Why do anything unless you are ready? The same is true with painting.
Shown at:
Clifton Cultural Art Center
3711 Clifton Ave; Cincinnati, OH, 45220
Opening 7 - 9 p.m. Friday, March 6, 2015; Closing Friday, April 3, 2015
Brief History of the Artist/Scientist
Tom Lohre learned by living with a master portrait painter R_. Searching for
new subjects, he painted the eruption of Mount Saint Helens while it erupted
from life, twenty miles to the south on Tum Tum Mountain. He also painted the
first space shuttle from life, 200 'feet from it, under armed guard, the day
before to took off. Besides painting portraits, Tom paints scenes from life.
Other rights and obligations between the artist and owner of the physical part of the artwork outlined in the Receipt of the Artworks Physical Part listed at http://tomlohre.com/contract1.htm. For any restoration and repair work, please call the artist.
Tom invented this painting technique. Tom melts oil pastels on metal by heating the metal. Once cooled the work will stay in place unless heated to 255 degrees, at 155 degrees you can manipulate the oil pastel without having the oil pastel move towards gravity. Run warm water over to clean, do not rub or brush, let dry and replace in frame. Do not touch the surface. The work should last for hundreds if not thousands of years if undisturbed not heated above 175 F and lit by indirect light.
Send an e-mail to be added to the database as the owner.
Perfect North Slopes II, Lawrenceburg Indiana Cincinnati Ohio Impressionism Oil Painting, Finished Tuesday, January 6, 2015, 8" x 10" x .016” x 2 oz., Oil pastel on melted on shiny duct metal. Framed in a Neapolitan style simulated gold leaf over clay over wood with no seam in corners weighing 2.5 pounds
Every picture is worth a thousand words. The same can be said about a stroke representing large sections of reality. Each stroke in this painting plays a major role in depicting a snowy scene. Step back far enough and you would think you were looking out a window. With a color stick one quarter inch round you get a slightly larger stroke melting it to hot metal. The red represents the leaves of fall still on the trees. The yellow in the clouds reflects the ground in the slight shadow. The whole scene comes to life as a bouquet of color. If one stroke could tell the whole story then one color could tell the whole story. You can count the strokes using nine special colors. The second painting after the severing of Tom’s left leg. Bright look forward with a clear sky and yellow shadows just as the light fades. The second painting, after Tom lost his lower left leg, of the slope.
Finished Saturday, January 24, 2015, 2014, 8" x 10" x .016” x 2 oz., Oil pastel on melted on shiny duct metal. Framed in a Neapolitan style simulated gold leaf over clay over wood with no seam in corners weighing 2.5 pounds. Can be shipped in a box 20” x 14” x 4” weighing 3.5 pounds. Work can be purchase without the frame shipped in 15" x 12" x 4" box weighing 2 pounds. Shipping is not free. Packing and shipping fees to be determined. Painting can be picked up in Cincinnati for free or delivered by the artist within a two hundred mile radius for a determined fee.
Painting with blobs is reality. Composition and time of day establishes the painting. This new manner cannot change the situation. The gross manner lends itself to familiarity. The visceral manner guided by natural illustration makes everyone there. Each stroke takes on more significance. Reality reduced to something a printer would do but when the artist reduces the scene to a few blobs that still have the scene then now that’s painting. Each round edged blob means more. The blob represents the reality of painting in the classical manner. Strike while the iron is hot. Why do anything unless you are ready? The same is true with painting.
Provenance:
Shown at:
Clifton Cultural Art Center
3711 Clifton Ave; Cincinnati, OH, 45220
Opening 7 - 9 p.m. Friday, March 6, 2015; Closing Friday, April 3, 2015
Tom invented this painting technique. Tom melts oil pastels on metal by heating the metal. Once cooled the work will stay in place unless heated to 255 degrees, at 155 degrees you can manipulate the oil pastel without having the oil pastel move towards gravity. Run warm water over to clean, do not rub or brush, let dry and replace in frame. Do not touch the surface. The work should last for hundreds if not thousands of years if undisturbed not heated above 175 F and lit by indirect light.
All information believed correct but cannot be guaranteed.
Perfect North Slopes I, Lawrenceburg Indiana Cincinnati Ohio Impressionism Oil Painting, Finished Tuesday, January 6, 2015, 8" x 10" x .016” x 2 oz., Oil pastel on melted on shiny duct metal. Framed in a Neapolitan style simulated gold leaf over clay over wood with no seam in corners weighing 2.5 pounds
The first painting after the fall staring up at Center Stage. On the ides of March Tom twisted his left leg half way up that hill. Everything was new. The painting kit now had a gun to heat the metal for the Sakura oil pastels. Finding an outlet was paramount. Now Tom uses a kitchen torch. Still the big wheel of as many colors as possible adding to it every time new crayons are made. The bigger issue was rendering the stark tree line across the snow slope. The first stokes black cloud. You can turn the painting upside down and see more of the landscape.
How many colors does a painting take? Pantone has 325. Tom used about 175 for this painting but only applied 25. The snow with a line of trees across the meadow and a dark shape just above the tree line. The sky is marbled with clouds. Light sky shows through the trees. In the foreground a bush with purple shadow stands alone before a bed of grass barley alive preserved by the snow that was above it. Light pink is in the snow with three shades of gray and two shades of blue one bright light manganese the highest end of the chemical spectrum. The shiny zinc coated duct metal pokes through the canvas and when the light is right add a sparkle effect.
Painting with blobs is reality. Composition and time of day establishes the painting. This new manner cannot change the situation. The gross manner lends itself to familiarity. The visceral manner guided by natural illustration makes everyone there. Each stroke takes on more significance. Reality reduced to something a printer would do but when the artist reduces the scene to a few blobs that still have the scene then now that’s painting. Each round edged blob means more. The blob represents the reality of painting in the classical manner. Strike while the iron is hot. Why do anything unless you are ready? The same is true with painting.
Finished Friday, November
28, 2014, 8" x 10" x .016” x 2 oz., Oil pastel on melted on
shiny duct metal. Framed in a Neapolitan style simulated gold leaf over clay
over wood with no seam in corners weighing 2.5 pounds.
Provenance:
Shown at:
Clifton Cultural Art Center
3711 Clifton Ave; Cincinnati, OH, 45220
Opening 7 - 9 p.m. Friday, March 6, 2015; Closing Friday, April 3, 2015
Tom invented this painting technique. Tom melts oil pastels on metal by heating the metal. Once cooled the work will stay in place unless heated to 255 degrees, at 155 degrees you can manipulate the oil pastel without having the oil pastel move towards gravity. Run warm water over to clean, do not rub or brush, let dry and replace in frame. Do not touch the surface. The work should last for hundreds if not thousands of years if undisturbed not heated above 175 F and lit by indirect light.
All information believed correct but cannot be guaranteed.
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