In the Fullness of the Moon
Archival Collage
Here’s a thought: Nowadays we can use virtually any material for collage even if it is non archival, like masking tape or soup. As soon as we scan or photograph the collage and make it digital - it is instantly archival. Right on up til the end of time.
Le Orb 5-23-11
It’s a Wonder to be Sure
I look at the infinite universe and here we are alive on this one tiny little planet. I see all this brilliant mineral, animal and human intelligence and I wonder how it is that we are able to design, engineer and construct a multitude of wonders out of ether, electricity and gas while we are all suspended in a vacuum? Then I see all the selfishness, violence and destruction and I reason, well what do you expect, it’s made out of ether, electricity and gas suspended in a vacuum.
© 5-17-11 David L. Nelson
I Shall Focus Entirely
I have made a disciplined decision to take the next year off and do absolutely nothing but write… Oh and, guitar, keys, synth, flute, draw, design, paint, photoshop, photography, film, act, produce, carve, sculpt, program, breadboard, record & reason, invent, explore and more, yes much, much more!!!
X ∞ 2
From: Miscellaneous Letters found within a very-long, lost wooden box at the end of the road.
Dear, Dear, Dearest Person,(s) 4-15-2011
Also including but not limited to:
Dearest Literary Mavens and Mavenettes,
On the face of it one would attempt to consider a certain type of cohesion between my last several communications and the inevitable outcome which this document produces in the context of a much less formal arrangement. I pray not to prevail upon you, to labor very much between the lines. From the first it has been my sole intention to strip the entire set of fantastic letters to the bare bones in regards to the issue at hand, and this would have been the outcome I had so wished for, if not for an absurdly large number of curious and incalculable interventions, by those particular bon vivant individuals who for the essential framework embodied herein shall remain somewhat transparent and mostly anonymous, until such time I have no choice whatsoever to either quote or paraphrase that which I would normally attribute to each individual author at the outset. However, due to space and time limitations, I may be left with the burden of processing entire portions into somewhat sparse pared down versions of the original expressions, in a sincere effort to fuse certain dimensional elements which hold similar traits, into consistent though nonlinear subgroups, which will in effect reveal appropriately just where and why no specific subsets of coincidental couplets were implied from the very start. Having stated the obvious, I would also like to address several lesser yet fully manifested elements which seemed to have colored quasi-variable aspects of the fundamental document. In the beginning I had no idea whatsoever that these somewhat sparse yet obviously similar and loquaciously descriptive features were hell bent on encroaching in a textural sense, upon the entire body of a given passage prior to the inclusion of many fairly important facets, which were not assimilated when the initiation of this project was pronounced as a remotely viable undertaking. It should take but little observation to see why I was mildly but attentively bemused while reviewing the brevet even with a cursory glance of my own most curious eye.
Of course we had fully intended at the outset to include colloquial provisions which would encompass each locale according to participatory outcome, if only in terms of unique language traits expressed by regional dialects and idioms peculiar, but not limited to various unexpected and even some as yet unidentified, uninvited attendees. It is on behalf of these insensate gate crashers that I have taken special pains to expand generously upon our initial standards of good form and open the proverbial floodgates of lingual invention to the populace at large. It is for this very reason, I have encouraged the inclusion of slang, street lingo, various forms of popular jargon and even technobabble. If terms and references are used in the proper context, those quaint persons who are burdened by a galling lack of familiarity with progressive linguistic transformation, will still find some hope of untwining the more labyrinthine aspects of the study and which will enable a larger portion of those whose interests embrace with some tender affection, the very essence of the complex integral components as they are revealed throughout these tirelessly eloquent documents, which have been tenderly bundled into concise pale pink paper packets, which are now being thrust energetically through the last grinding efforts to edit and produce a copiously illuminated collection, which will be fit for proper digestion, by those who seek with a most potent kind of literary fervor, a sense of compassionate decorum, which will enable our immediate core group of attendees the good common sense to refrain from the all to tempting desire to render, distill and purge from all native nationalistic languages, those seemingly superfluous vernaculars which by shear definition are the very cornerstone of linguistic evolutionary development and which provide an equal opportunity for all humans, be they holders of enameled and framed, embossed doctoral certificates in the language arts, or grimy street urchins, philanthropic heathens, or backwoods domestic utensil solicitors, the opportunity to assimilate the heady verbose nectar endlessly generated by our entire collective of great nations as they express dynamic growth of burgeoning linguistic bifurcations, with no more effort than the genial dilettante hobbyist’s pursuit of a fleeting but well met passing fancy.
To this end I have dedicated what little energy I have left upon this great lofty planet, to the edification of the manual and electronic typewriter. If it were not for the invention of this most marvelous device, great sweeping forests of Cedar trees would have met an untimely demise at the strong, calloused hands of the fellers axe. We would be forever sharpening bindles, bundles and boxes of shrinking pencils and or dipping endless wads of feathered quills into infinitely deep ink pots, spilling and splashing countless drops and little dark puddles of the stuff, on our crisp starched shirts and silk skirts, until we were little more than a nation of polka dot documented dandies and be-spotted literary ladies, walking around in a quite different world, of much less than fastidious fashion, I can assure you of that! Therefore as the principal mechanism by which an exceedingly large number of courageous attempts at great literary achievements were undertaken employing the tireless typewriter, I have contracted with the local marble quarry at the far end of Context road, to have a mighty large white pillar of their best stuff, lathed up and cut to specifications proportionate to my great grandfathers Underwood machine (unfortunately ribbons for this machine are no longer being manufactured, therefore, by default this typewriter will be relegated to little more than an Objet de Art) and it will be placed with all due respect directly, yet delicately upon said polished pillar to be auctioned off to the highest bidder at the end of our joyous weekend celebrations.
In closing it is important that we give special thanks to Camillo Olivetti his son Adriano whose dedication and devotion to relentless standards of the highest degree and the magnificent designers, Marcello Nizzoli and Ettore Sottsass who have made remarkable contributions in the production and design of this most marvelous invention possible, and of course to the makers of White Out.
With a modicum of ever expanding affection,
Carlo Benetti Ribonna
Supreme Grand Chancellor of the Quill and Parchment Society of Parma, Italy
Office hours are posted on the street lamp just outside the western most entrance of the Serendipity Antique Mall every third Saturday of each odd numbered month.
© 4-2-2011 David L. Nelson & Ironworks Publishing
ITZAPEALINGTOME
Dearest Person,(s)
If I may be so kind as to ask why these seemingly unique occurrences appear to evolve exponentially, and usually at this particular time of day, though it is certainly not always so. I merely seek a venue by which to provide a suitable arena wherein you would have an opportunity to relinquish any unquenched reciprocity, in a manner which you deemed appropriate within the scope of your personal intellectually driven sub-context, as allegorized accordingly, via your own chosen sensory construct; or a combination(s) thereof. Had I wished to demonstrate further infinite salutary bundles of kindnesses, with logically embellished lyrical, empirical evocations, albeit sans provisos of any necessary equivalence, they would be revealed instantaneously out of hand and laid gently to drift upon the continuous quintessence of ethereal substance until discovered quite randomly by you. It would seem to appear to me that these varied coalesced considerations are to be met outright at the outset, well before any of our collective or individual precious time is taken to construct any preconceived forms, follies or fictions, which might promptly present themselves spontaneously in light of the utter transparency of this very actual moment. However, I have no particular direct or oblique objection to any internal projections which you may choose to manifest within the sanctity of your own cerebral domain.
Warm regards,
Orbmanelson
© 3.27.2011 D.L. Nelson & Ironworks Publishing
Floral Fantasy • Watercolor Painting
© 2010 David L. Nelson & Focus Fine Arts ®
Feel free to print this out and share with family and friends.
Bliss Filled Hollydaze to all!
Le Orb
The Caffeinated Lens
Artist Steve Wilber observing through the caffeinated lens.
© 2010 David Nelson • Focus Fine Arts
(Source: youtube.com)
This is in response to Fine Art Painting ?’s
Odorless Mineral Spirits vs. Linseed Oil?
I would like to make the following suggestions:
1. Avoid using Mineral Spirits altogether for fine art painting. It is a Petroleum by-product of the oil industry and as such is an industrial chemical. It is toxic. It does not hold definition when painting with oil paint and the color “Blooms” or spreads rather than staying in place where you put it. It was and still is used by House Painters to thin oil paint for painting buildings. Other than that it is useful for cleaning automotive parts. It is oily and greasy. These are two characteristics which do not bode well for paint layer adhesion, or enable you to create a long lasting painting.
2. Next we come to Turpentine. Turpentine is a Polymer. Which means it will harden over time into a permanent film layer surrounding the paint particles in suspension. (Like marshmallows in a jello mold) Pure Gum Turpentine is the Artist standard Artist Color Thinner. It is made from distilling the resin from pine trees and it works perfectly as a thinner and additive to Fine Art Painting Recipes. Such as when mixed with Linseed oil and Damar varnish to make a painting medium. Below is a link which will show you various recipes for working with oil paint. Under no circumstances should you ever purchase or use “Steam Distilled Turpentine”
http://www.utrechtart.com/dsp_view_products.cfm?classID=1020&subclassID=102010&brandname=Utrecht
Pure Gum Spirits of Turpentine is an excellent brush cleaner also.
3. We have come a long way since the Renaissance of Oil Painting and there are many new products on the market which allow for a safer studio experience.
A. ALKYD PAINTING MEDIUMS:
a. Alkyd painting medium is a quick drying and ready made medium which can really speed up the painting process. Most layers dry overnight unless they are heavy impasto. They come in a variety of consistencies.
I recommend using some products from Gamblin:
http://www.gamblincolors.com/mediums/index.html
http://www.gamblincolors.com/solvents/solvent.comparison.html
(I know they say to use odorless Mineral spirits here but again, for artistic reasons, I would avoid this stuff like the plague!)
My suggestion along with Gamblin odorless Alkyd Painting Medium would be the use of Citrus Thinner:
If you are going to be working with any of these evaporative chemicals indoors make sure you have an exhaust fan ( It should have a sealed motor in it to avoid explosion hazard) drawing fumes away from you and out of a window. Cross ventilation is best, so:
An open window on one side of the room, you in the middle of the room and an exhaust fan on the other side of the room drawing fumes out of the painting area.
Also:
Always wear surgical rubber gloves when using Artist Oils to protect your hands from coming in contact with thinners, mediums and paints. Fine Art Oil Painting is a very Toxic way of painting. It can, however be done safely if done properly.
Avoid breathing Vapors from thinners, any and all of them.
This is a huge topic and I have only covered a small portion of it here. I would like to recommend that you purchase a book on working safely in the Arts, such as:
http://www.amazon.com/Health-Hazards-Manual-Artists-6th/dp/1599213184/ref=pd_bxgy_b_img_b
Also, if you have not made a substantial investment in Oil Colors, you might want to try Acrylic Artist Paints as they are safe to work with without ventilation and are by far less toxic to handle. All artist colors whether Oil, Alkyd, Acrylic contain heavy metals such as Cadmium, Lead, Cobalt etc. As such avoid touching paint with your bare hands as these toxic metals can enter into the pores of your skin and cause organ damage. Again Wear Surgical Gloves when painting.
STUDIO SAFETY:
http://www.liquitex.com/healthsafety/safestudiotips.cfm
http://www.gamblincolors.com/studio.safety/index.html
http://www.tucsonaz.gov/arthazards/studio.html
Best of luck to you and have fun!
Warm regards,
Orbmanelson
Focus Fine Arts
