ZEN; Another Lucid Mosaic(in process) by C.T. Rasmuss.

'ZEN(in process)'  C.T. Rasmuss, Lucid mosaic(original concept by C.T.).



Here's the Lucid Mosaic I've been workin on since, late January of this year; I've posted some conceptual drawings below, in order of conception.  Just to verify to anyone who has followed my career and my original mosaic/painting method - My direct influences for this particular style is not just the pouring method of Jackson Pollock and impasto style of Van Gogh, but here particularly like my last Mosaic('Night & Day; A Modern Dilemma' by C.T. Rasmuss) my additional influences on this one are: Frank Stella for the color/grayscale effect, and M.C. Escher concerning composition and mathematics.

 

 

 



I have included these preliminary drawings to give you a sense of my preparation that goes into, coming up with the ideas for my mosaics.  Many people, other artists and professionals of all kind always talk about being afraid of others stealing their ideas; as for me, I am some what concerned, when the thought of it crosses my mind, but I feel in my heart that I'm blessed with a talent that is to be shared with those who are willing, and if my talent/idea is truly strong and unique enuff, as I 'believe' it to be, then I've nothing to worry about.

 

 

 

Enjoy and I hope you learn something, especially from how we can learn so much from the Masters..

 

 

Link to: ZEN Part II - The Finished Piece



 



Jackson Pollock Still Life Museum

Jackson Pollock Still Life Museum  C.T. Rasmuss, oil/acrylic/enamel (March 2014).

I'm afraid for my future...afraid like everyone else to some point; But I'm particularly afraid of the painterly(set of ideals) path that I'm headed down, one not only less traveled, but hardly traveled if at all!!  The Jackson Method I've come to know it as, and I plan on continuing well into it; and along with it everything I've been doing for the 1st decade, bringing me up to speed and deeper into this spiral of chaos and dis-order.

On the plus side my biggest hope is: that I fair better than my counterpart/mentor Jackson himself-Headlong into a tree at a modest 50 mph or so; well I'm off to the Pub to play my harmonica and let loose of the generous share of Irish in me, may my Danish side keep me calm, ahahahaa!!!

Jackson Still Life Museum  - closeup - C.T. Rasmuss, oil/acrylic/enamel (March 2014).

Now for a brief description of what you see here: it's a 100% pure oil paining, within a 100% pure enamel/acrylic painting, keeping the integrity of a overall painting in tact.  It's a successful attempt, i believe, in propelling the Art for art's sake further into the existential argument; and w/o losing any validity I must say.  Most important was maintaining overall color balance and composition -holding it together: without losing the original intent of a well executed finished painting, and not:

 "just a neat idea"-poor execution(painting).

Thank You- Happy St. Patty's Day!!!

Introduction to Abstract Expressionism - Class Taught by C.T. Rasmuss.

David  C.T. Rasmuss Acrylic/The Jackson Method (Feb 2014).

Introduction to Abstract Expressionism by C.T. Rasmuss

Abstract Expressionism was an art movement which started in the 1940's, post World War II. These artists valued spontaneity and improvisation, and they accorded the highest importance to process. Their radical new direction was responsible for shift the center of the art world's attention from Paris to New York, as the new mecca; they created large scale works representing each artist's individual psyches.

In this class: students will learn to get in touch with their individual 'psyches' as the Masters from the original era of Abstract Expressionism did. It will be structured via: factual art history lessons(short in class) for inspirational purpose and technique demonstrated by the instructor; it also will be loosely based, in order to allow each student the freedom to find their own form of expression!

Suggested supplies for this class: 1^st of all NO EASELS :) In class we will be painting on the table, possibly outside, on the ground when weather clears up. Whenever you're on your own, make yourself comfortable and paint on the floor; this will help tremendously in developing texture, a key ingredient in this fantastic form of art and self-discovery..

...We will be using Acrylics(water based) in this class, don't spend a lot of money on higher grades; as the point is expression, and you'll more than likely be using high volumes per canvas. Canvas, buy canvas at good deals, ask me what will work for class as eventually all students will be doing their own thing, as no two psyches are alike! Finally when it comes to brushes, I will provide the brushes, as classes go one you'll learn about brushes, what they do and the ones you'll eventually want to buy for yourself.

And now a list of definitions for you to look up for your own benefit, as well as Artists to learn:

Composition

Texture

Golden Mean

Color Theory

Abstract art

Modern Art
Surrealism

Action Painting

The New York School

Works Progress Administration (WPA)

MOMA

Guggenheim Museum

Peggy Guggenheim

Artists: Wasilly Kandinsky, Hans Hoffman, Jackson Pollock, Willem de Kooning, Franz Kline, Lee Krasner, Robert Motherwell, William Baziotes, Mark Rothko, Barnett Newman, Adolph Gottlieb, Mark Tobey, Richard Pousette-Dart, and Clyfford Still

                                  “Art is what you make it” -C.T. Rasmuss ENJOY!!!

Jackson Pollock: A Methodical Madman or Just A Madman?

She's Beautiful  C.T.Rasmuss, The Jackson Method (Feb. 2014).

Jackson Pollock seems to be a recurring theme for me, ever since I started devoting most of my efforts toward painting back in 2005, when was still living in my hometown, Flint, Michigan.  I took courses in painting at The University of Michigan-Flint; but largely I was self taught, 'Independent' as I prefer to be known, as some of the greats before me; I say "the greats before me" because like Pollock and other great artists, it's in 'our' blood to out do our predecessor's...

In my case I not only wish this, but I also wish to prove the critics against Pollock, wrong, that he wasn't a Madman, but in fact there was method to his madness; as I hope you can see in this post.  I aim to continue in this manner of documenting, as I dig deeper into this debate; what I like to call the: The Jackson Method, capturing the evidence w/o compromising the integrity of autonomy.

p.s. I hope to me joined by other professionals of my field as well as other fields that can help explain the implications and dynamism of The Jackson Method.

                                                                          Stage1:

Stage2:

Stage3:

Stage4 w/thumbnail:

A Jean-Michel 'Basquiatesque' Painting Surface

                                                     'Ode to Basquiat on Barnside', C.T. Rasmuss; 2011

He would often draw on random objects and surfaces, including other people's property.  I remember coming across the artist, Basquiat many times since 2005, when my 1st real art teacher in college advised me to look him up; because she saw some characteristics in my painting style that were similar to his.  This was later confirmed in my Drawing class at USF in Tampa; when my art instructor exclaimed that I had a "Basquiatesque drawing style". 

As I encountered this artist more and more through research, and also because Basquiat being the artist of many artworks I was drawn to time and time again, I was exposed to some of his most interesting techiniques, using anything within reach as well, but not just in medium any more ( like I was somewhat influenced by Pollock's spontaneous flirtations w/ putting what ever he felt like putting into his works of art), but the act of applying any type of medium onto any surface that could hold it, like the doors Basquiat would find and paint (door jam and all as seen below). 

                                                              Example of 3 doors painted by Basquiat.

I find my Ode to Basquiat on Barnside's painting surface (being rough outdoor panneling) to be most similar to the surface used in Basquiat's painting found below, on the left side.  I applied my applied painting technique and the pouring method to it along with things like the paint stir that was of no longer use to me, a paint lid of an emptied paint can and other misc. objects: a couple push pins and a dime I flipped into it that I found on the floor, rather than putting it into my pocket.  I'd like to think both Basquiat and Pollock would be proud of everything that went into the painting literally, not because of the objects themselves (Pollock) or the obscure panel I used (Basquiat); but because, the entire process from painting surface to all the other ingredients used, were completely spontaneous and unplanned...without rules or any critical after thought.  A true intersection I believe; where the three of us could meet, at a new artwork we all had in common.

                                                    Basquiat with some of his 'Carte de visite' paintings.

                    

Scribble of Pollock's She Wolf

Scribble of Pollock's She Wolf  C.T. Rasmuss, paint pen, marker (2011)

This is the first of hopefully many works to come in this style, it is my take on the Classics, Impressionists and early modernism in an effort to translate them for the modern mind; I am heavily inspired by Pollock and his relation to his original mentor, Thomas Benton using my natural, primitive intuition of 'scribble'!