2 Acrylic Still Lifes by CT Rasmuss

              22x24" acrylic by ctrasmuss

16x20" acrylic by ctrasmuss

The above two works of art, that I've recently finished are in their final states as far as I'm concerned; I'm quite satisfied with their outcomes...especially the backgrounds I created around them!
  In this short blog, I've also included some of the notes and previous stages of these paintings below:

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:

House Tree Person Test; Taken by C.T. Rasmuss

The House-Tree-Person test (HTP) is a projective test designed to measure aspects of a person’s personality.

Seen below, is a HTP I administered to myself without realizing it until the end, when it came into fruition:

HTP  C.T. Rasmuss  India Ink/oil on foam-core (2013).

This Work began purely as an Action painting, using India Ink on foam-core at "Last Day at The Pendleton-Cincinnati"; during which I was being interviewed on camera.  I was actually working on three at the same time going back n forth from surface to surface; taking only one to full completion(that day), this not being the one.  I told the interviewer that I would finish the other two at a later date, as it was just not meant to be for these two...and about 6 months later that 'day' had come for this particular one.

First, I discussed with myself: "Why does it need to be the same medium?  I can just continue with oils(my re-current medium of choice), can't I?"

I then, mixed up a palette of oils & took to the palette knife!  After 30 minutes of chaos and frustration I relaxed and took a quick breather, I then saw the perfect place for a house with a yard.  I was reminded of my Graduate studies in Art Therapy at Hofstra out on Long Island & how I coincidentally administered a HTP- House Tree Person Test to my students(Seniors) in Assisted Living just the day before...

So here you have my H-T-P, question is what does it say about me, you be the judge, I still can't figure me out, haha!!!

Encountering a Fresh Medium

Asylum C.T. Rasmuss, India ink on linen (2012)

  Jerusha Tree C.T. Rasmuss, India ink on linen (2012)

I performed to an audience when creating the above two pieces at Creativa, a creative group based out of Cincinnati, OH and at a Disciple Ministries Concert in Hamilton, OH respectively...it was the first time I had ever used this medium and I had only practiced it just a few days before the 1st live action painting at Creative on Saturday, Oct. 13th.

I've always been curious about this medium and finally had a reason to use it, it dries fast and is perfect for performing live action painting; in my earlier experiences with performing live painting performances it was always a problem what to do logistically with the wet artwork after finishing, especially with the way I apply acrylics in an impasto manner.  After finally giving this medium a try, I'm hooked now and fascinated in the directions I can go!!  I can see why Vincent Van Gogh was so intrigued by the prints of the East, as well as Modernist, Henri Matisse, not just for their composition and pattern, but perhaps the way the ink interacts with such a simple and fine material like linen; I, myself really enjoy the simplicity of it..(definitely the opposite side of the spectrum for me:)

India ink has been around since the 3rd millennium B.C., it developed in China and the carbon pigment in India ink started to be traded in from India thereafter, hence the name India ink.

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.