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Twilight Tree Line, 24" x 18", Glow, Oil pastel on metal, April 10. 2016, dark view
Twilight Tree Line, 24" x 18", Glow, Oil pastel on metal, April 10. 2016, twilight view
Best to view with a clicker. Hang the work in low light plugging in the light with the clicker module. View by clicking to turn off light.
These images do not show the real view of the painting. Cameras receive and process light differently than eyes. The twilight view is the best approximation of what it is like to view the painting in its optimal.
Tom started working with glow in the dark colors while developing his Lego painting machine in 2003. In 2015 he produced two paintings with the sky and water being glow and the rest normal colors. All the paintings are oil pastels melted on hot metal, a technique he started with his painting machine. One of the paintings, a view of Fountain Square, hangs in the Cincinnati City Hall, part of an art for sale/display program curated by Jan Brown Cheeco.
This painting moves the process a step further using only glow in the dark colors in ernst as a standalone medium. The work is developed on three levels: daylight, dark and half-light or twilight version (the way the work is supposed to be viewed.) Not being able to work with the color in the manner it is to be viewed is the stumbling block. It is like working in an alternate universe. The glow colors have a comforting manner about them for when you close your eyes the colors you see are glow in the dark. The preliminary workup is done in the computer with two layers, the layer as the painting looks in daylight and the way the painting looks in the dark. Half of the colors are a milky yellow white and cannot be distinguished one from another. The other half are tinted in an approximation of the glow color.
The next glowing painting will be a sea scape with Moby Dick, whaleship and whaleboat. Tom hopes to advance his study focusing on the twilight version of the work carefully taking advantage of the brightest glowing colors making them the bright reflection on forms and the lesser glowing colors the shadow colors. Tom will rough out the scene in 3D using Poser, then moving it to paint after the composition, reflection and colors are set.
Tom made a painting machine out of Lego's Mindstorm Invention System in 2003. To make a machine that paints you must simplify the application process. The stroke the machine used is the same as this work, melting wax on a hot surface. These same simplifications also stimulate the viewer as a new aggressive impressionism. His first study technique was painting copies in museums, learning principals of art that could not be taught. His second study technique was creating machines that copied the process of painting. He discovered more principals of art that otherwise could not have learned.
His purpose in these paintings is to reveal his spirit while illustrating life. He seeks a visual vibration that inspires and stimulates the viewer to see beauty, truth and order, using unconventional methods. He seeks to discover underlining principals not revealed in normal study. This work differs from others because it goes a step further, applying traditional study techniques using new methods.
Fountain Square LXXI, Glow,
pastel on metal, 12" x 16", Tuesday, Janaury 20, 2015
Tom started working with glow in the dark colors while developing his Lego painting machine in 2003. The addition of new colors stymied Tom till 2015 when he was willing to advance the process dovetailing it with his March 2015 Show.
There are two aspects of glow in the dark. Some of the colors can be seen and other colors are colored with an approximation of the glow color. For now, Tom will be using the glow colors for skies and reflection of the sky on the water. Tom developed an applicator to facilitate thicker glow color for the daylight version to show an opaque surface.
Fountain Square LXX, Glow, Oil pastel, Blob, 12" x 16", Wednesday, January 14, 2015
Learning to use glow in the dark colors is like learning to see light with an extra component. Like an insect able to see ultraviolet. What do they see? How can the glow in the dark component become part of the colors?
Egyptian Woman, Glow, Blob Portrait, 16" x 20", November 16, 2008
Tom talks about his glow-in-the-dark painting.
Irene, 16" x 20", August 2003, Glow, Blob Portrait
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