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Come see the progress!
http://www.therevelationpainting.com
You are the first to see it.

A very large piece of  The Four Horsemen scene will be on the site by January 31st!  It can be found in the photos and there will be a blog about it describing the making of this section.  Hope to see you there! 

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THE REVELATION PAINTING

Inspired from a childhood experience, The Revelation Painting has been an 15 year endeavor to not only create a magnificent and historical work of fine art, but to use worldwide effort through the use of natural resources in creating the painting-the first of its kind. Precious and semi precious gemstones were gathered and crushed into shards for Scene VII of the painting. In collecting the stones from all over the world, their beauty shed an illuminating light on the people and cultures who build their homes and lives upon such beauty. In admiring the stones one begins to admire the people and their culture striving for an exposure unlike any other creating a kind of visual and artistic peace around the world!

The Revelation Painting is a massive work of art measuring 12 feet by 40 feet with seven magnificent scenes. Thirty canvases 48″ X 48″ are required for the creation of the painting. The canvases are gallery wrapped cloth and custom-made wooden canvases required to carry the weight and storage of the elements of the painting. This painting will travel the world in exhibition and is history in the making!

The Revelation Painting has been in the works for 15 years and is scheduled for release in December 2012. The artist has expressed that in this world of turmoil and unsettling conflict, that something very beautiful can be created through resources not commonly used to create unity and world peace. Fifteen years were dedicated to exposing the beauty of the world and its resources, its people, spirit, culture and soul. The artist states: “It is a “presence” of beauty for the world, visual peace in times of turmoil.”

The painting incorporates fiber optics, 3D “flip” graphic resources, and OVER $140,000.00 of gemstones from around the world, among other things commonly not seen in fine arts. Each gemstone holds a sacred place in the painting which is identified in one of seven journals being created simultaneously titled: The Stones. The journal includes information about the stones and it’s origin related to the painting. One of the mysteries of Revelation have been uncovered in this section of the painting!

The other six journals are:
The Journal of Dreams
The Journal of Visions (which includes the last year of the making of the painting as in a diary format)
The Journal of Measures
The Journal of Sketches
Truth-The Hemorrhage of Pigs!
Journal of Acknowledgement, the most important journal in the series acknowledges the participation no matter how great or small toward completion of this masterpiece. It discloses not only personal contributions but information provided by the contributor and advertising if desired of their businesses, personal information, a message to the world, dreams and aspirations. Essentially whatever the contributor wants to say to the world!

Scene II GOD measures 14 feet by 9 feet and is alive with color and energy, moving on the canvas and illuminated. As the audience becomes hypnotized by the sparkle and light, the painting begins to bleed before their very eyes: Truth-The Hemorrhage of Pigs! A hidden mystery is disclosed, then the painting returns to the beauty of brilliant, white light and energy!

Over $2500.00 of high quality acrylic paints were used to create the Devil due to his remarkable, highly textured reptilian skin. Real gold was used in various areas of the painting! Human hair on some characters for realism embedded and combed into the heavy lacquer becoming a part of the painting forever. A mystery of religion and humanity is revealed within the Four Horsemen which will be disclosed later in the blogs to follow!

Please subscribe to the blog for regular updates. The painting will be shown via live webcam in mid (est., June) 2012 with the artist working on it…THE FINALE. There will be scans of the work and updates of all aspects of the wonderful creation starting in January 2012. You will view the last year of the making of this historical painting. It is a painting to the people for the people. You and the world are a part of it!

Please note that all aspects about the painting will be blogged including but not limited to: Letters written soliciting sponsorship and/or investors, auctions, advertising of the painting, in addition to specific blogs related to the making of the painting. You will not be solicited but will have access to where the areas of participation are offered such as having your name embedded in the painting as a crusader of good in the visible but invisible battle of good and evil which is occurring right before your eyes!
It is exciting, original and Revelation is Rising!

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Please forgive the poor scanned image.  The scans are from the actual Journals.  References will be acknowledged regarding the odd “things” which have happened spontaneously when working on this painting, such as the journals were purchased online and the number of blocks were not counted, the image of the journal was a closed book.  Upon receiving the journal, it was opened to reveal a perfect grid for the entire painting.  It seems like a little detail but there are more, many more which facilitate ease in the making of this painting.
THE LAYOUT
 
This is the main canvas design of the painting requires 30-48″ x 48″/4 foot x 4 foot canvases.  The canvases are numbered for ease of work processes.  As noted in the first scan, each small box represents a 6″ x 6″ square within the total 48″ x 48″ canvas.  Twenty canvases are cloth, gallery wrapped canvases 1 1/2 inches thick.  Ten canvases are custom wood which are not made yet.  The wood canvases are designed to carry weight; the weight of cables and the weight of gemstones.  The cable canvases are designed with half moon shaped doors which open vertically to house coiled cables (there will be a blog later regarding these canvases).
 It is easy to lose sections of working canvas within the painting with these small measures.  Later, each canvas will be blown up by zoom for accuracy.  The rough sketch will be placed at various levels to increase the size in steps.  Moving back and forth through the Journal of Measures and The Journal of Sketches will decrease error when the scenes are painted.  The Pale Horse was sketched onto the canvas and after working it out in The Journal of Measures, it was found that the sketch was only one third of the required size!  

This is the main layout measuring a total of 12 feet by 40 feet.  Please comment as needed to help see anything missed in any scan regarding the design process.  This painting involves input and supplies from all over the world.  You have a part in its creation no matter how small.  Please, say what is on your mind and remember:  The only “stupid” question is the one which goes unasked.”  Thank you in advance!

 

 

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INTRODUCTION:

THE REVELATION PAINTING

La Pittura di Rivelazione

 

The Revelation Painting was inspired from so many sources throughout my lifetime including the “Old Masters” and their impeccable styles.  The most prominent inspiration beyond a doubt was my mother, Mary Ann.  She was also a very talented artist who put her painting on the back burner in a sacrifice to be a wife and for motherhood and for that I am grateful.  Within her motherly love, she instilled within me a powerful imagination giving me the ability of vision and creation.  My mother ignited the passion of The Revelation Painting mainly through something that happened to her when she was twelve years old; an event that changed not only her life but also mine as her daughter.  Sometimes we receive more than genetics from our parents; we receive the seeds of dreams and through those seeds, gemstone foundations become a magnificent and massive painting!

 I cannot say that I am religious, but I am learning to find my own answers.  The Revelation Painting and 12 years of its creation have offered insight beyond what I could have expected to receive from even formal study.  There was one white bible in our home and it was my mothers.  Although I had spent countless hours trying to read it from the beginning, I returned to the Book of Revelation.  Visual imagery of creatures with six wings covered with eyes, locust with men’s faces, woman’s hair, golden crowns and tails like scorpions overwhelmed my imagination.  Although I found my heart, pounding often times, it was not in fear of what I was reading, it was the image I conjured up through imagination and its glorious power often times carrying me to sleep on the back of a horse with a head like a lion!  My love for the visuals was very inspiring.

Becoming an adult, I began to realize the natural resources of the world and their unsurpassed beauty, which cannot be mimicked even through  science, such as a true rainbow during a soft rain, the blue to violet hues within a red ruby, and the sparkle of a human eye filled with innocence, fear or sorrow.  I began to develop a sense of humbleness while searching for the gemstones that play such a critical role in the New City of this painting.  I saw humanity crushed by diamond thieves, the life, spirit and passion carved from people’s hearts, and in countries where the citizens should be living like kings of the earth due to the natural resources they sleep upon, children are starving to death!   The Revelation Painting developed into a global endeavor through the stones of the New City and the new world it represents.

In creating a global endeavor, I felt it appropriate to utilize as many languages as possible in subtitles of the painting as well creating a sense of unity.  The effort was to pull as many cultures, races, ethnicities as possible into the painting even offering messages in forward, backward and hidden formats within the painting.  People across the globe were and continue to be offered opportunities never seen before to become a part of the painting, of history in the making.  Never before has an artist offered humanity to become intertwined within his/her art as it is being created.  It is an exciting endeavor!

 

  

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Dedication

 

To my children:

 

This journal, associated journals and The Revelation Painting are dedicated and belong to my three children in effort to help them understand that sometimes in life, there are things beyond our understanding and that we are all placed on this earth for a reason.  We may never know our own specific reason if we do not search for answers and look for beauty in ordinary, not just extraordinary things.  Ultimately, we are the masters of our own destinies regardless of whom or what we feel may be the blame for our misfortunes.  I want the three of you to realize that when each of you were born, within your first breath of life, you filled my heart with a passion I have never known since, it is something very rare and sacred which I carry.  The most important thing in life to remember is that it does not matter what material things you have when you leave this earth, what is important is what you take in your heart, leave in other hearts and what you leave behind for the earth.

  

To my family:

 

Always remember the warm, balmy nights where we gazed up and into the stars with our mother who rest amongst them now.  She traced giant purple people eaters, cut our hair in ways we almost shaved bald but little did we realize, she was planting our footsteps amongst the giants.  Our father was not born with a book in his hand on “fathering”, as we were not either.  The most important thing to remember is that a measure of a man or woman throughout a lifetime is to have the ability to realize our mistakes and remedy them.  I know this will sound familiar:  “You will never learn by talking, you will learn by listening.”  How will you measure a man for what he has learned in almost a century if you do not simply take the time to listen?  To all of you, thank you for giving me the honor of knowing you in our lives, you live within me.  Without you all, I would have been blind!

 

Humanity:

 

The muddy red African tribes of today survive similarly, to how my ancestors once did which is an appealing attribute; forging the earth for food and using their hands to acquire what is needed to survive although the click of technology would make it much simpler a task.  The echo of mystical chants thanking the creator for life remains throughout time and encircles the globe but we are oblivious.  We cannot hear past our televisions, our pounding, angry music, we cannot see past our selfishness.  Within a twenty four hour world, those sacred sounds are drown out by the sounds of bars dumping beer bottles several times a night, sirens wailing on their way to pick up a drug overdose who has stopped breathing, a gunshot victim, or some other “unfortunate” victim.

 

We have lost many of the beautiful things given us to create a paradise.  We have ignored the cries of the earth and its members as they drown in naked agony.  The difference between us and the wild beast of the land is that we are supposed to have higher intelligence, we are supposed to be able to find solutions, we are the caretakers bound to help one another, we are the future and only as strong as our weakest member.  At this very moment, our weakest member is dying and it does not take the unsurpassed intelligence of man to realize what that means for the future of humankind.  I am guilty as well, I am hypocritical but I am learning to hear the echoes of mystical chants and within those chants, there is a profound sadness as urgency fades and time waits for no one, not me or you.

 

The Revelation Painting began as simply the religion of the book and through research and evaluation ended in an exposure of truth.  It is a truth of the corruption of humanity and selfishness of humankind.  Mysteries of Revelation revealed and it is self which self ultimately destroys.  To look at the bible, it is a book to teach us the “right” way to exist amongst one another and it states that at the end of time, sons and daughters will become prophets.  We can ask ourselves if God gave those gifts, or in simply evaluating our actions, our past and ourselves, we develop the tools required to create change and save not only our world but also our very lives.  If only we could sacrifice convenience for time, we could reverse the ignorance and damage we have created while given command of our paradise.

 

I imagine this masterpiece scattered upon the ruins of a world we once called home.  It is massive in size and in its messages.  It seems as though the world is spinning out of control in so many ways.  There is no place to jump off and start anew, this is what we were given and we are squandering it away and in the end it will be too late to ask who will save us now?  Although I am unsure if we are teetering on the edge of the Apocalypse, my Instincts of survival push me forward, yet my intuition tells me to prepare myself and to make things right with our creator.  I can start from today to create change, there is no one who can stop me, and I can become responsible and use the charge given me over the earth.  In my humility, my effort may create change and inspire another.

 

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JASPER a quartz as clear as crystal

JASPER a quartz as clear as crystal

  

  

JASPER

THE FIRST FOUNDATION OF THE NEW CITY-SCENE VII

Personal Note:

Please note that the information listed is derived from many sources and research regarding the stones is ongoing.  It is difficult to use information of our current times when in biblical times that information may have been different (note the post regarding Emeralds when it is posted).

Obtaining the stones for the New City was my first endeavor when initiating supplies needed for the painting.  I focused on the “bible” names and nothing more.  When I began soliciting for and collecting stones from all over the world, I took their literal “bible” meaning.  Jasper is an excellent example of the confusion and controversy I began to face.

Jasper is noted to be mainly reds and browns most commonly.  There are banded and spotted in nearly all colors.  I imagined the stone used was red, perhaps banded with browns, blacks and yellow/whites as it was the most commonly seen stone with research.  There were blues (ocean jasper) which were magnificent but rare.  I wondered if the blue was the correct stone to use in order to illuminate the heavenly blue colors of God’s New City.

It was not until several years later I realized my error!  I had been collecting the wrong color all along.  I had read Revelation so many times and missed what I now understand jasper to be.  I began to research the stones from ancient times, scientifically, geologically, metaphysically and any way to develop a true understanding of exactly what each stone signifies. 

As I have previously stated: “I am not religious but I am learning”, and in that growth I tried to walk a mile in another “man’s” shoes to find out exactly what was on God’s mind when he mastered the architecture of his New City.  I imagine the plan was to mark HIS New City with HIS glory which SHINES like the sun.  What a better stone to use to crown HIS glory!

CLEAR QUARTZ 

Referring to God and The New City from various biblical text:

  • Rev. 4:3 And he that sat was to the sight like the jasper and sardine stone
  • Rev. 4:6 …and before the throne there was something like a sea of glass, like crystal…
  • Rev. 21:11 Having the glory of God, and the light thereof was like to a precious stone, as to the jasper stone, even as crystal… (SECOND TRANSLATION: …having the glory of God.  … brilliance was like a very costly stone of crystal-clear jasper.)
  • Rev. 21:23 And the city hath no need of the sun, nor of the moon to shine in it.  For the glory of God hath enlightened it, and the Lamb is the lamp thereof.

 

 

FACTS REGARDING JASPER:

  • Quartz is divided into two types:
  • Macrocrystalline-Crystals are visible with the unaided eye.
  • Cryptocrystalline-A microscope is required to see the individual crystals.
  • Jasper is quartz of the cryptocrystalline type that can be of two distinct types; micro granular and fibrous.
  • Quartz makes up 12% of the earth’s crust. (ODDLY ABUNDANT-REMEMBER THAT WHEN READING ABOUT THE STONES IN VARIOUS BLOGS.  A MYSTERY OF REVELATION WILL BE REVEALED IN THE BLOG SHORTLY BEFORE THE PAINTING IS UNVEILED 12/2010 WHICH WILL CHANGE HISTORY~!)
  • As the most abundant mineral on earth, quartz and jasper are found all over the world.
  • Jasper is often multicolored, banded or spotted and is commonly found in reds and browns.
  • Has long been used as tools for hardness; spears and axes.
  • Helps cure liver, intestinal ailments, stomach, gynecological, and cleanse the body of toxins.
  • The stone was once believed to cure insanity with God’s help, and heal demon possessed.
  • Egyptians placed amulets on the deceased as jasper was believed to create a safe passage in death.
  • Protective, calming, offers stability, and balances the emotional and intellectual.
  • Known as “the great rain bearer” in the fourth century.
  • Origin of the name Jasper is Greek: iaspis.
  • Brings happiness, aids in sleep, protective properties.

Major sources of Jasper include:

Venezuela, Germany, North Africa, Brazil, Canada, United States, Madagascar, Russia, Ural Mountains, India, Sicily, France, Egypt, Uruguay, Australia, Kazakhstan 

CHERRY QUARTZ
 
More information and addendums will be added as discovery occurs.

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RUBY-Red Sapphire (translucent)

RUBY-Red Sapphire (translucent)

 

 

SAPPHIRE

RED SAPPHIRE = RUBY!

The Second Foundation-Scene VII

 

 

As noted in the first blog of the stones, the meaning the stones used to create The New City holds within them a mystery of Revelation which was discovered while crushing the stones.  This mystery will change history and religion as we current understand them related to Revelation, it is history in the making!  Please note that in ancient times stones were classified differently than today and were not a separated family with different names as we see today.

 As noted in the first blog about the stones, research is ongoing regarding the stones, their dates of origin, name origins, when and/or if they became classified as separates from their original families due to color or other contributing factors.  Sapphire is a stone which has numerous separations as you will see in the Jacinth blog.  Once all blogs have been written it will become apparent that the current classifications are what ultimately changed the meaning.

 Sapphire is corundum and is currently (in modern times) the non-red variety of corundum, the second hardest natural mineral known to mankindI have not been able to distinguish when in time the color separation of corundum occurred other than the given name was used in the 19th century, and when the red sapphire became classified differently from the corundum family.  The red variety of corundum is Rubyall other colors became called sapphire, even pink.

RUBY-red sapphire (translucent)

RUBY-red sapphire (translucent)

 Corundum in all colors is known as sapphire except the medium to dark red tones which in modern times characterize ruby.  Sapphire is commonly known as blue yet colors which make up this family of mineral, when applied correctly include yellow, brown, green, black, purple, orange, pink, colorless, and ranges within those colors.  Although this blog is about Sapphire or Ruby, it is worth mentioning the stone Jacinth was Hycinth in ancient times, which is Sapphire.

 A one carat ruby can range in price, according to color, size, clarity and cut to over $10,000.00.  The quality makes the difference and the bigger the stone, the more it is worth.  For example, in 2008 in Geneva through Christie’s (auction sale) a ring “The Graff Ruby sold for $3,647,480.00 which per carat was $425,000.000.  Rubies are often times worth per carat, more than diamonds…Amazing!  

 The Revelation Painting requires  gemstones crushed into shards including rough and faceted where appraisals were not obtained beforehand.  I do not know if the rough gems I crushed wher in fact worth $425,000.00 per carat or not.  It sounds ludicrous but the message of the painting in my eyes is worth far more than a monetary value.  A simple personal philosophy is that I cannot take this painting when I leave the earth, but I can take the impact it made upon the world!

Rough Ruby
Rough Ruby

 

 Also, some faceted stones from Thailand and other Asian countries were lead glass filled which is considered “enhanced or treated”.  Although still ruby, flawed, it is a process where the natural feathering or flaws within the stone is lead glass filled which eliminates the flaw and adds weight to the stone.  Sellers are supposed to disclose this process but do not readily do so.  The stone after time returns to its flawed state.  In the painting, although thousands of dollars worth of rubies were used, some were “enhanced”.

 The spiritual meaning of ruby includes wisdom related to spiritual matters, confidence, helps to focus concentration, offer contentment and peace, and is commonly known as the stone of life and energy.  (As in the Jasper blog, please remember-LIFE and ENERGY as it relates to the uncovered mystery of the stones in the foundation of The New City).  The ruby is considered the most powerful gem in the universe!  The gift of ruby symbolizes friendship and love.

 Rubies are found in many parts of the world and have been mined for centuries.  Burma is the main source for the finest rubies but in recent years very few quality rubies have been found.  The finest ruby color is known or described as “pigeon’s blood”.  Other areas where rubies are mined include:  Kenya, Greenland, Tanzania, Vietnam, Nepal, Thailand, Cambodia, United States, Tajikistan, Afghanistan, and Pakistan as well as other locations.

 The name ruby was derived from the Latin word ruber which means simply “red”.

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Dreams

This blog is copied from The Journal of Dreams. One of seven journals to be published after the painting’s release in 12/2010. A time investment of twelve years will be complete at that time. The Journal of Dreams begins in July 1998 after awakening from deep sleep July 13Th, 1998 and realizing night was filled with dreams of The Revelation Painting.

July 12Th, 1998

Today is my mother, Mary Ann’s birthday. She seemed somewhat sad earlier on the telephone talking about a project she was working on and asked for my help.  I obliged knowing it would be a futile effort this time as it had been for the past 10 years. She had been tied up working feverishly on Spindletop, Texas and her belief our family was the original owner of that land. Although we had been down the road to Spindletop many times in the past, I felt obligated to help her, to give her hope in her desolate life deep in the West Virginia mountains.

Mary Ann

Mary Ann

She is a very skilful, self-taught painter but has lost her desire to paint in the past years becoming consumed by isolation and depression. I remembered her telling me once that when my youngest sister left home, she would have no reason to continue life. My sister had moved out some time before. When my mother said that, I gazed deeply into her blue eyes for any sign of untruth and it was not there. She was telling me that she would die of loneliness whether from a broken heart or suicide, it was clear that she was serious.

Whether the Spindletop endeavor was a delusion or not, Mary Ann was my mother and not only did I know what she meant by stating she would have no reason to continue life, I knew that focus on Spindletop would create a kind of child in the house she so longed for, missed, and it would ultimately save her life. Nearly everyday I called her and talked about Spindletop and the information I had found in the libraries, Internet, and other sources. It kept her busy and that kept her alive.

There were three things that would fire up passion in my mother; Spindletop, talking about her paintings, and asking her to relive the story of her death when she was twelve years old. We had talked about Spindletop for months, then months became years, and for some reason, perhaps because it was her birthday, today the topic was shifted to “the story” of her death at twelve. Although I had heard the story many times growing up, each time it was retold and relived was like the first time.

This is the seed of The Revelation Painting and I am convinced of that beyond any doubt. When Mary Ann told the story of her death in such artistic detail and emotion it was like I had been beside her and saw every detail. I asked my mother to tell me the story and she eagerly agreed. Her voice softened as she began to remember, like the humble and respect of being given another chance at life. Her voice was as it had been when I was a child and she was about to tell me something about life that demanded full attention. She began to speak.

“It happened when I was twelve years old. I was laying beside my mom in the bed when all the sudden I felt like I couldn’t breathe. No air would move in or out, I was suffocating! I tried to move and I couldn’t, I tried to yell out to my mother and I couldn’t. I was going to die and I knew it. I was afraid and began to panic. My heart was pounding, my eyes were wide open and just when I thought I could not take it anymore a feeling of calm came over me. My eyes closed and I didn’t have to breathe any longer.
The room became bright. I sat up and I looked for the source of the light to find shiny, golden stairs at the foot of the bed, illuminated and so clean. The stairs were long, so long that I couldn’t see the top of them. Something made me go to them, I had to see where they went and I knew I was supposed to walk up them. Upon stepping on them and walking up it was like I didn’t have to try, almost like floating. My feet touched them but I didn’t breathe hard, I don’t think I had to breathe anymore.
When I got to the top, there was a man dressed all in white standing before a beautiful pearl gate. His skin was golden. Not a white man, not a black man but something between like golden brown. He had piercing green eyes but his face was friendly, I knew he would not hurt me, he glowed of love and peace. The gate was closed but I could see through. The floor was shiny like glass and the glare of the shine was so brilliant I could not see if it was translucent or any color, it was just so shiny clean like the glare on glass.
All of the sudden the man said: “Where have you been?” in a startling voice! I didn’t know what to say. I didn’t know what he meant, I hadn’t been anywhere. I didn’t answer, he opened the gate and said in a hurried voice: “Hurry up, he’s been waiting for you!” I felt as though I had to hurry and stepped through the gate. He said: “You shouldn’t keep him waiting.” I remember thinking: “Who?”, but then my attention was drawn to so many people to my right side dressed all in white. A feeling of love, warmth and happiness overwhelmed me.
I tried to see their faces and although I knew them, I couldn’t see their faces. I knew that they loved me and were happy to see me. Hundreds of people and I could feel their love. I don’t know how long I stood there when the man said: “Come this way, he is waiting.” We walked to a door which I was compelled to push open and when I did, the brightest light I had ever seen nearly blinded me. I knew that if I wasn’t supposed to be there the light would have blinded me and I wasn’t afraid.

There was a man…something like a man I think. The light was so bright I was unable to make him out. His face was so bright it was impossible to see his eyes, or nose or mouth. Suddenly he began to speak and it was like thunder! I still was not scared though. His voice spoke every language at the same time but I was able to hear my language. It sounded like a creek flowing, like bubbles on the rocks…ploop, plop, doop, doop. He said: “Where have you been, I have been waiting for you?”

I told him I was with my family, my mother and he said it was my time now, I had to come with him. Feeling afraid I told him I wanted to go back to my mother and he said I had been bad. It was time for me to come with him. I tried to think how I had been bad and couldn’t think of what I had done but somehow know I had done something. I started to cry and pleaded with him to let me go back to my family. He said: “I will let you go but remember I will come for you like a thief in the night, you will not know when!”

He continued to say not to tell anyone about this until I was 18 years old. He said: “You will have three chances.” I started to ask what he meant by “three chances” and his voice became very loud and he said: “Run, run now before I change my mind!” All I thought was to run and run fast! As I was running through the door he said: “You will have three chances” and started to laugh. I continued to run through the door, past all the people and down the stairs back to the bed lying beside my mother and I didn’t tell anyone what happened.

When I try to remember back to what happened after I made it back to the bed I can’t remember anything. You are the first I told about it and I was much older than 18 before I told the story. When you were a baby and I looked in your eyes, I knew you were different. Your eyes scared me, but I don’t know why, like a bottomless pit. I don’t know what the dream meant but I know that you are different and you always have been. I knew it since the day you were born and I looked at your eyes.”

The Eye

The Eye

 
In West Virginia millions of stars light the sky at night. Within them lives imagination and something comforting. Oddly enough Mary Ann lives where a creek babbles the words only she can hear. She doesn’t talk about what she hears at night in those dark, dark mountains of West Virginia where the absolute sounds of silence are often times as loud as thunder and the thunder drowns out the sounds of life and the living. Sometimes when I visit, in the middle of the night she says: “Let’s go outside and lay on the picnic table and look at the stars.”

Mary Ann is changing, or maybe she changed long ago. When a child leaves home for a time and returns everything is different. I never realized that during star-gazing with my mother there are voices within a creek flowing less than 20 feet away. West Virginia is known as “almost heaven” oddly enough. I can’t say that I have ever heard the voice of God talking to me in all languages through the bubbling and babbling crystal clear waters or that I ever realized it was just us three; Mary Ann, me and God.

Little do I know why my mother fears my eyes, it is disturbing. Her cracking voice of memory tells me that the fear of God she has within her is tied to the piercing, green eyes of the gatekeeper at the top of the stairs the day she almost lost her life.  It makes perfect sense to me. I have a feeling my eyes remind her of him and she struggles with mixed emotions of fear and love. Somewhere along the line I realized that I am one of the three chances she was offered in lieu of life, and that this painting is what she molded me my entire life for through the story of heaven and God, art and imagination.

Could it be that my mother was spared to become the messenger and her destiny was changed for the greater good of the world?  Everyone ponders existence, especially their own and when trying to see what my mother’s existence was for, I see The Revelation Painting.  When I ponder my own existence, I see the massive painting, and feel the warmth of light and energy, and know that I am one of the “three chances”.  Although still unsure of the three chances and what it truly means, I am sure that I am a valuable part of it.  There are five children, 3 sisters and 1 brother.  Three of us were born one year apart, the others some time later.  Could it be that the 3 born a year apart are the chances?  Time will tell.

July 13Th, 1998  to be continued

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EMERALD-The Fourth Stone

 

Red Emerald-Bixbite

 

Beryl has been considered a valuable gemstone since prehistoric times. There are many colors of beryl known under many names. Green beryl is called emerald. In the 1800s green beryl was removed from the beryl family and called emerald. Blue beryl is aquamarine, colorless is goshenite, pink is morganite and yellow is heliodor ranging from a bright yellow to a honey-golden yellow.

Red beryl is extremely rare and mimics shades of red from bubble gum to to scarlet, or the color of blood. Mainly found within the Wah Wah Mountains of Utah, only an estimated 60 pounds were ever mined in the history of the world! Some smaller amounts have been found in other countries recently. Oddly enough it seems people are drawn to this stone yet do not understand why. The reason will be revealed later via an exerpt from The Stones Journal.

Blood?

 

The most common thread between this stone, its rarity, and the similar color of blood is in fact that the bible pounds a message to its readers that we should never forget that Jesus shed his blood for our sins. What better way to elevate the significance of that sacrifice than to mark it with the rarest gemstone in the world? These facts seem confusing but within The Revelation Painting there is a mystery of Revelation which has been overlooked since the bible was written and it will be revealed in The Stones Journal. Once revealed, the mystery is easily seen in the painting. The price for red beryl or Bixbite is astronomical! For one faceted carat, you can expect to pay $20,000.00 or more. Although I have obtained 6 carats of rough stone and the collection required for this section of the painting (an estimated 272 carats) will obviously have to be forfieted in lieu of a replacement stone of similar color or some other meaningful way to express the significance of this most important section.

I once spoke to a man who had worked in the mines in Utah and asked for the owner’s contact information. He was very put off when he found that I needed to crush it for the painting. He went on to say that the stone was highly coveted and that the owner would never sacrifice it for the painting. I will never know if I do not ask, so time will tell if the mine owner will sacrifice a handful of the stone.

(THIS SECTION WILL BE UPDATED as developments occur)

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THE BLACK HORSE
 

A nine year old practice piece
Please note that the true height of this horse and rider are over nine feet on the canvas and that this horse is in the audience’s face.
If we think about these horses as segments of time* in lieu of what they stand for, the black horse carries the balances.  For me that means equality and justice.  Throughout history if we look at time and where various equalities meant more than ever before, that is the time we currently live in.  Think about it…womens rights, smokers rights, gay rights, human rights, racial and ethnic rights, world rights, human rights,…Who was the father of equality?  Who stood up for rights of equality more than anyone in history?
Martin Luther King
and he is the rider of the Black Horse.
“…a “BLACK HORSE” appeared and went forth, whose Rider held in his hand a “pair of balances,…” 
 
I am still negotiating whether to have this horse facing forward and reared.  I think that presence would be astounding but would take the faces further away from the viewer.  Here the faces are too significant in this portion of the painting.  The rider is higher than 6 feet on the painting without the horse reared and the perspective from below looking upward may interfere with the true message in this scene.
This is still very much a working piece.
 

Behold…THE BLACK HORSE!

 

 
*Please watch for the future blog on the Four Horsemen, racial classification,  and the segments of time they represent.  Along with the racial classifications of the horses, this blog will illustrate how races and time interact from past, present and into the future.  The coming blog will also reveal suprising political figures within the painting (the second and mysterious painting hidden in plain site within The Revelation Painting who have a part in the ancient and ongoing battle of good and evil noted in the journals overview blog).

 

 

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The Black Horse is moving right along.  His body will be complete by the 01/31st and the head will follow.   The orange is the fire of Hell which follows The Pale Horse (see the working images blog for The Pale Horse).

Keep in mind, you are seeing 64 square feet of the painting here which was a challenge in perspective!  The Black horse will be over 9 feet tall when completed.   Martin Luther King’s foot is an actual size 12 in the painting, just to give you an idea of his size on canvas.

The high gloss emulsion required to seal the real hair onto the canvas for the mane (and tail) creates a glare on the photos and for that I apologize.  I will have to have professional quality photos taken at a later date.  The balances, or scales are incomplete.

The swirling fur pattern is seen here, as well as the lines of the 48″ x 48″ canvases.  Martin Luther’s feet hang in the wheat and barley which is still incomplete.  The highlights of the horse’s musculature id Interference Blue (a metallic blue powder).

The dead, black-green grass of The Pale Horse coming will crash into the live wheat and barley grass of The Black Horse.  I like the dirt division line but am having a problem making The Pale Horse look further away.  The green and beige grasses need to be taller, brighter and more detailed to make the perspective of distance.

Wheat and barley, incomplete.  The kness with fur detail.  Martin Luther’s toes are hanging down here and still incomplete as well.  I am considering something in the background but am unsure what may be there at this point.  It is a lot of space.

Close up of the real hair, unfinished as well.  I used far more hair than I wanted.  It has been a long time since I worked with the hair and forgot just how overwhelming it can be.  The picture is blurry and I will be taking more.  The hair also requires much more for finishing to create the effect of being “a part” of the painting.

Watch for more….The completed 64 square feet will be at:  www.therevelationpainting.com before it is here.

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It is time to get back into gear.  I spent the last few months in useless “marketing” efforts trying to gain corporate sponsorship for this massive painting.  I have come back to my senses and realized I, and I alone are the master of this painting’s destiny.  Never do I, or have I started at the bottom and worked my way up.  I have this simple philosophy:  Start at the top! It could end up in a tragedy or success because at the top, the only place to go is down.  The key is once you get to the top, you never let go!

I am the creator of a massive work of art called THE
REVELATION PAINTING which measures an incredible 12 feet by 40 feet!  Not since DaVinci’s time has there been a religious painting of this magnitude.
This painting is history in the making!

I am writing you Sir in effort to gain your support.  I am an American born artist but the significance of this painting is paramount.  I would like to release this painting from Italy with the support of the church.  There has been nothing throughout history which can match the true magnificence this painting.

The painting is alive and moves with fire, passion, and energy!  It bleeds on the canvas and returns to its original state.  There are messages within the painting written backwards and the painting changes to other paintings in front of the audience’ eyes, true awe and spectacular!

There are mysteries of Revelation which are uncovered within the painting which will change what we previously knew about the book of Revelation.  It is well worth the churches time to look into this painting and I would be honored as the artist.

I have been working on this painting for the past 11 years, it is what I
would consider a “life’s work.”  I have received materials for this painting from around the world, making it a true global effort.  Please feel free to contact me at any time.

I have created a blog:  www.therevelationpainting.wordpress.com

  where I am creating public interest very rapidly!  This is the last year of the painting’s creation which has been kept a secret until now.  It is exciting and I would very much appreciate your attention above all which become involved.

Respectfully yours

Below, you can see a summary (Please note I am not a professional marketer, just an artist working independently on all aspects of this painting):

—ABOUT THE PAINTING—
The Revelation Painting©
“La pittura di rivelazione”

THE REVELATION PAINTING is a massive work of art measuring 12 feet by 40 feet with 7 magnificent scenes.  Thirty canvases 48″ X 48″ were required for the creation of the painting.  The canvases are of gallery wrapped cloth and custom made wooden canvases required to carry the weight and storage of the elements of the painting.  This painting will travel the world in exhibition and is indeed history in the making!  The artist has expressed that in this world of turmoil and unsettling conflict, that something very beautiful can be created through resources not commonly used to create unity and world peace.  Over ten years have been dedicated to exposing the beauty of the world and its resources, its people, spirit, culture and soul.  The artist states:  “It is a “presence” of beauty for the world, visual peace in times of turmoil.”

The painting incorporates fiber optics, 3D “flip” graphic resources, and gemstones from around the world, among other things commonly not seen in fine arts, yet the quality is comparable to the work of the “old masters” in its creation.  Each gemstone holds a sacred place in the painting which is identified in one of seven journals being created simultaneously titled: The Stones.  The journal includes information about the stones and their origin related to the painting.  One of the mysteries of Revelation has been uncovered in this section of the painting!  There is an area of precious and semiprecious crushed gemstones creating the New City which spans a total of 220 inches respectively where over $40,000.00 to this date, has been
invested-Ruby, Sapphire, Chalcedony, Sardonyx, Carnelian, Beryl, Helidor, Topaz, Bixbite, Zircon, Amethyst, and Chrysoprasus…it is stunning and like nothing you have never seen!  Each 1″ section of gemstone coverage required 6 carats of crushed gemstones.  The painting also contains titles and subtitles in languages from all over the globe!
The other six journals are:
+ the artist ideas, thoughts, and feelings while creating this life’s work
(2 books Dreams, Visions)
+ Sketches of the work (1 book), Truth-The Hemorrhage of Pigs! (1 book)
+ Measures-with such a massive size it was imperative that the measurements be precise. (1 book)
+ Journal of Acknowledgement, the most important journal in the series acknowledges the participation no matter how great or small toward the completion of this masterpiece.  It discloses not only their personal contribution but information provided by the contributor and advertising if desired of their businesses, personal information, dreams and aspirations.
Essentially whatever the contributor wants to say to the world! (1 book)
The painting will be shown via webcam in mid 2010 with the artist working on it…THE FINALE.  There will be scans of the work and updates regarding all aspects of this wonderful creation starting in January 2010.  You will view the last year of the making of this historical painting.  It is a painting to the people for the people.  You and the world are a part of it!

Please contact: inquiries@therevelationpainting.com
For more detailed information on the painting, see
www.therevelationpainting.wordpress.com
Mark your calendar for June 2010 when www.therevelationpainting.com goes live with webcam shots of the work being created.
 

 

See, he is reading my email!  Look at his face, he is astounded!  Now it’s just a waiting game…

It is unclear to me that if I had been marketing this painting for the past 11 years, if I would have been any further than I am.  It does not seem that I will gain corporate sponsorship until it is complete, then as they say:  “Everyone will be your friend”…you know.  I have been watching the U.S. economy and feel as though The Revelation Painting will not get the recognition it deserves here and have decided to release it from Italy, specifically Rome and the “grand-daddy” of religious art-The Vatican!  Regardless, tonight I did something drastic.  Tonight I wrote the Pope~!

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When the Lamb opened the fourth seal, I heard the voice of the fourth living creature say, “Come!” I looked and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine and plague, and by the wild beasts of the earth.

Revelation 6:7-8 NIV

Revelation 6:8 Aramaic NT: Peshitta
ܘܚܙܝܬ ܤܘܤܝܐ ܝܘܪܩܐ ܘܫܡܗ ܕܗܘ ܕܝܬܒ ܥܠܘܗܝ ܡܘܬܐ ܘܫܝܘܠ ܢܩܝܦܐ ܠܗ ܘܐܬܝܗܒ ܠܗ ܫܘܠܛܢܐ ܥܠ ܪܘܒܥܗ ܕܐܪܥܐ ܕܢܩܛܠ ܒܚܪܒܐ ܘܒܟܦܢܐ ܘܒܡܘܬܐ ܘܒܚܝܘܬܐ ܕܐܪܥܐ ܀

I have to admit that I was petrified these days regarding my discovery of the skulls and the races in my previous blog regarding the Four Horsemen.  I was sure I was wrong about the Pale horse.  In the Aramaic Bible (first translations), it states that the Pale Horse is the Green Horse.  It was shocking to me, a massive mistake in my understanding of what I read…see, this is why I have all kinds of bibles now!
And behold a green horse, and his name that sat on him was death, and hell followed after him, and power was given unto them over the fourth part of the earth
Odor, color changes, and bloating of the body during decomposition are the results of putrefaction. The lower part of the abdomen turns green due to bacteria activity in the cecum. Bacteria break down hemoglobin into sulfhemoglobin which causes the green color change. A formation of gases enters the abdomen which forces liquids and feces out of the body. The gases also enter the neck and face, causing swelling of the mouth, lips, and tongue. Due to this swelling and misconfiguration of the face, identification of the body can be difficult. Bacteria also enter the venous system causing blood to hemolyze. This leads to the formation of red streaks along the veins. This color soon changes to green, through a process known as marbelization. It can be seen on the shoulders, chest and shoulder area, and thighs. The skin can develop blisters containing serous fluid. The skin also becomes fragile, leading to skin slippage, making it difficult to move a body. Body hair comes off easily. The color change of the discoloration from green to brown marks the transition of the early stage of putrefaction to the advanced decompositional stages.
See the cited article here:  http://en.wikipedia.org/wiki/Decomposition

Also from Wikipedia:   http://en.wikipedia.org/wiki/Four_Horsemen_of_the_Apocalypse

The fourth and final horseman is named Death. Of all the riders, he is the only one to whom the text itself gives a name. Unlike the other three, he carries no weapon or other object (but some versions say that Death carries the scythe, symbolizing that he is the Grim Reaper); instead he is followed by Hades.
The color of Death’s horse is written as khlômos (χλωμóς) in the original Koine Greek, which is often translated as “pale”, though “ashen”, “pale green”, and “yellowish green” are other possible interpretations. The color suggests the sickly pallor of a corpse. The natural colors of horse coats that could be indicated include dun, palomino, buckskin, or one of several color variants with dilution genes.
How absolutely appropriate!  The riders’ name is Death and he is in stages of decomposition with his green horse.  Now I have to look at decomposition bodies, I have to study them and see the true colors of early decomposition.  It is amazing, the work required to create this painting.  There is obviously never a dull moment!

So the error remains close to the surface of my brain, haunting and taunting me.  I thought:  Why in the world would the Pale Horse actually be green, such an unnatural color?  Then last night I was watching Dr. G.- Medical Examiner.  She was talking about a young man who died and was decomposing earlier than normally expected.  She said:  “Decomposition turns the skin a blue-green color.”  I found myself sitting upright and at attention!  Wikipedia talks about the decomposition process and its stages.  Here is a part of it (where the green comes from):

 Putrefaction

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In effort to create precise measurements of individuals of The Revelation Painting, the study of human bone structure lead me to Forensic Anthropology.  It is imperative that I understand the measurements and calculations required to create the correct perspective of various races of human beings.  This study became extremely important in The Four Horsemen scene previously mentioned.
Based on Forensic Anthropology’s scientific calculations, the length of a man (or woman) can be measured by several bones for a relatively accurate overall height.  I used the length of the average Caucasoid male to calculate the total height and reverified by art anatomy standards.  With those two techniques applied I have calculated the height of the white horses’ rider to be 5’7″ based on his position in the painting.
The calculations based on art anatomy are as follows:
Femur (the long bone of the thigh) is on average the length of 2 heads.  In this case, the riders’ head was approximately 8″ in length (top to bottom)= 16″.  Then I used the scientific calculation used in Forensics:
Length of the femur (16″ or 2 heads)X 1.88+32=5’7″.

Now I am able to calculate the height of all riders not only based on their position and persective, but also the base caculation of the white horses’ rider!  Therefore, all measurements will be scientifically correct.

 
The face of the rider will be designed around the general skull shape.  This is what lead me to discover the calculations required for accurate perspective in this massive design.  The bottom of the sketch exhibits the “general” layout of the horses’ areas in this scene.  In the upper left the white horse was estimated by the size of the area it will occupy, then sketched loosely to get an idea of the head size, as noted by the numbers to the left 1-4 (which are feet then unmarked in inches-estimated).

The entire page length of this sketch was suprisingly 8″, the exact size of the skull.  This gave me a raw look at the size of the head which is close to actual human size.  The white horse is the furthest back in the painting…he is receding.  By looking at the size of the black horses’ space and that he is the closest to the viewer, he and his rider will be over 9′ tall…IMAGINE!

I produced an error in the initial calculations.  I was under the impression that the scientific calculation made the length of the femur itself and calculated initally on that finding (in black), then I “saw the light” (in blue) and correctly calculated the length.  Through my research, ancient men used to be shorter in stature than they are now in modern times, so his total height is most likely correct for his time.

Please examine the sketch and if you see ANYTHING you would like to bring to my attention, please do so.

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In this scene (Scene 1) Joseph is in “the spirit” and is not seen.  Jesus is before him telling him to write the things he sees.  Jesus holds within his hand 7 stars.  Originally I had Jesus standing forward and stiff, when actually he should have been facing GOD who is captured in Scene 2 above and to his right.  I also needed to measure through the human skeleton his actual body proportions as noted below.

Now Jesus is turned toward GOD holding the 7 stars and they are uplifted toward GOD as they represent the seven churches.  He also stands among 7 candlesticks which represent the 7 spirits.  There are 24 elders in the background here although they are mentioned in Scene 2.  I added them for substance within Scene 1 as Joseph is not visualized.  They represent the unity or transition of Scene 1 to Scene 2.  For better understanding, please read the beginning of Revelation and you can imagine the scene.

Blue indicates the skeleton, red and pencil, the robe.  Jesus’s face is illuminated by the presence of GOD, as well as how he is described.  It is very difficult to turn written text into visual art.  I do not know the race of Jesus, his skin color, or any other details beyond those written in Revelation where he is described as follows:

 

 12Then I turned to see the voice that was speaking with me. And having turned I saw seven golden lampstands;
 13and in the middle of the lampstands I saw one like a son of man, clothed in a robe reaching to the feet, and girded across His chest with a golden sash.
 14His head and His hair were white like white wool, like snow; and His eyes were like a flame of fire.
 15His feet were like burnished bronze, when it has been made to glow in a furnace, and His voice was like the sound of many waters.
 16In His right hand He held seven stars, and out of His mouth came a sharp two-edged sword; and His face was like the sun shining in its strength.

 

The only part of Jesus’s skin which would be exposed is the hands, but if they are together the glow of the stars which will be illuminated through fiber optics will drown out the color of the skin.  The face will be illuminated through paint and not fiber optics.  As brighter white placed on paynes grey would create the light of a window in the darkness…illumination with merely ghostly facial features.

The candle sticks are also difficult.  Can you imagine how many kinds of candlesticks there are?  Tall ones, short ones, fat ones, skinny ones, every color of gold…pale, shiny, ornate.  It seems an easy task, but is not!  I have decided to use ornate, golden candlesticks with 24K gold leaf.

Please examine the scene and offer suggestions.

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The Four Living Creatures
(Working Images) 
 
And before the throne [there was] a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, [were] four beasts full of eyes before and behind. And the first beast [was] like a lion, and the second beast like a calf, and the third beast had a face as a human, and the fourth beast [was] like a flying eagle. And the four beasts had each of them six wings about [him]; and [they were] full of eyes within: and they rest not day and night, saying, Holy, holy, holy, Lord God Almighty, which was, and is, and is to come. (Rev. 4:6-8)
 
This is an important part of The Revelation Painting for me.  I believe I have been drawing eyes my entire life for this!  Although I remember trying desperately to draw these creatures when very young, I could not master it.  Giving up on it for many years, again, here I will try to recreate what I have seen related to Revelation 4:6.

My main problem here are the bodies of the creatures because the bodies are not mentioned.  In order to paint the portions mentioned; the faces-A lion, calf, human and eagle I will paint those images but make the fiber optics of GOD and the brilliant white light shine into their chest where the bodies nor the feet will show.
  
   

As you can see at the bottom tips of the feathers, detail work will be required to make the feathers match and not appear as though the creature has been “ruffled”.  It is imperative to pour lacquer into and on the scene when it is complete to decrease opportunistic decay from underlying air bubbles over time.

   

The face of the eagle is a rough sketch.  Research is required to make it appear realistic.  I sketched the head in all different directions and felt that the eagle, since he is the end creature would look best if he were looking out at the audience.  His eyes will be larger and yellow/gold.  

   

The texture of the feathers are seen here.  One thing I learned in painting the sky in the earlier blog was that the texture is forgiving.  If it is highlighted as above but not appealing, you can highlight it in a different color or tone to pick up more detail as long as the paint is thin.  The thicker, the more it takes away the depth.  

   

Eyes will be basic painted color, then detailed with colored pencils and spots of light added.  I thought about other types of eyes, from animals, birds, and fish but will stick with humanistic eyes with various sized pupils.  I once read that artwork is more appealing if the pupils are larger but will not follow that rule today, at least not for the eagle because his pupils are relatively small.   
Please watch for progression blogs to follow.
 

  

 

 

 

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Acrylics are my paint of choice.  I paint fast and the number one reason is drying time.  Often times I blow dry my work as I paint.  Oils are magnificent but offer a burden for me in control.  The oil is slick and difficult to control especially for detailed work.  I painted one oil painting in my life and what should have taken a couple of hours, took over 3 weeks to dry!  The modern acrylics of today in my opinion, offer the richness and brilliance in color like oils.

Pigments are mixed with various clear lacquer and other mediums.  For The Revelation Painting some pigments include minerals, tree barks, fruits, flowers, or plant parts.  Minerals are also used to create vibrant, color fast scenes.  All paint applied is UV protected and the painting upon completion will be sealed with a UV protecting clear coat which is the substance used to seal cars!  This will create gloss and durability in effort to create a magnificent work of fine art which will withstand the test of time. 

All of these are important aspects of creating art.  UV protecting prevents yellowing over time.  Archival canvas with limited acids were specifically chosen for this work.  I do not use gesso as a primer and have been known as a paint waster.  I prefer to build the color through layering for a solid pigment, and a rich finish.  Some of the painting will have an instant coffee “wash” applied for antiquing techniques. 
As stated in previous blogs and information about this painting, there are never seen techniques used in the creation of the work.

Golden Heavy Body Artist Acrylics 4 oz

My favorite all time paint is Golden Fluid Acrylics.  They are the thinner version of Golden Heavy Body paints, which are my second favorite paint.  I paint with much control and attention to detail.   Abstract work is difficult for me as I have not learned how to “let go” of tight lines.  Although I may think outside of the box, I have not yet learned how to paint outside of the box.  Much effort and consciousness is utilized to bring fluidity and flowing lines to my work.  Although it is a difficult task, I strive to “open” my paintings which finding the balance between detailed control and the freedom of expression. 
.
The total estimated cost of the paints used in this painting is well over $35,000.00.  Please note that the paint comes in 1 ounce, 2 ounce, and 1/2 ounce vials.  Imagine 12X40 feet and an ounce of paint!  The average price of any one of these paints run from $4.50-$15.00 or more depending on the series and/or color.  Actual 24K gold flakes are used in some scenes which also adds a hefty price tag to the piece.  Texturizing is very important and where layers and layers of real paint are used in lieu of texturizers and molding, the actual cost of paint becomes astounding!

For example, the highly textured Devil in this painting was created by large “dabs” of paint, left to almost dry, then gently and specifically pressed causing a realistic reptilian skin.  Wax paper is used to prevent pulling of the nearly dry paint leaving holes.  The Devil required nearly $2500.00 worth of the most expensive red and orange hues. (Reds are usually higher priced).  The “dabs” pressed measure vertically 2-4.0 mm which is thick for paint on canvas.  Underlying browns were used for contrast and depth perspective, as well as swirled into the reds and oranges in effort to created texture within texture. 

Scene 2-God required various layers of the most luminescent white paint and mica to provide a glow unseen anywhere else in the painting.  Great care was taken and careful consideration regarding the second scene within the scene of God;  Truth-The Hemorrhage of Pigs!, where the bright white was repainted with thermochromic paint to create the red hemorrhage.  The high risk of yellowing overtime and temperature change will require specific retouching over time and the directions specific to the retouching techniques will be written on the back of those canvases. 

In addition to the mentioned acrylic paints and custom pigments, I will also be using Liquitex products which are also higher quality acrylic paints.  Those of you who know paints, know the quality of these paints and for those of you who do not know paints, here is some information borrowed from the Golden website:

http://www.goldenpaints.com/products/color/fluid/index.php

GOLDEN Fluid Acrylic Color Lines

Fluid Colors
Fluid paints contain near the same pigment strength as Golden Heavy Body colors in a pourable, low viscosity formula.
Fluid Iridescent / Fluid Interference
Familiar for their radiance, GOLDEN Iridescent Colors produce a luster by themselves, with other colors, or mixed with mediums.
GOLDEN Interference Colors offer a unique “flip” when viewed from different perspectives.
Historical Fluid Acrylic Hues
GOLDEN technology uses contemporary pigments to create hue combinations of these traditional colors; combining the integrity of the past with today’s requirements for quality, lightfastness and safety.
Matte Fluids
Provides a uniform flat finish in a wide variety of concentrated colors.

Fluid Acrylic Colors

Fluid Acrylics are highly intense, permanent acrylic colors with a consistency similar to heavy cream. Produced from lightfast pigments, not dyes, they offer very strong colors with very thin consistencies. No fillers or extenders are added and the pigment load is comparable to GOLDEN Heavy Body Acrylics.

Unlike mixtures of heavy-bodied paints and water which produce weak color and films by dilution, Fluid Acrylics contain high pigment levels suspended in an acrylic polymer vehicle. The result offers fine dispersion, high tinting strength, durability, flexibility and good adhesion. Fluid Acrylics are ideal for spraying, brushing, staining, and can be mixed with other GOLDEN Products. Blend with Airbrush Medium for spray application. Excellent for fabric application.

Please see the colors on the website.

 

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 The Four Horsemen-beginning photos

See:  http://photos.therevelationpainting.com  for finished work.

Working images of The Black Horse.  See www.therevelationpainting.com for more photos and blogs regarding the work.  http://photos.therevelationpainting.com

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Please note that you will have to keep coming back to this blog as it is edited with new images throughout the next few days.  The text will remain red until the blog is complete letting you know it is still a working image.  Please feel free to rss for updates as they are posted.  These are cell phone images, sorry.  Thank you

 

The Four Horsemen

My studio space only allows four canvases to be placed together at a time.  This is where the Journal of Measures (an Numbers) comes in handy.  I can look at the general layout and know how much space I have to work on a piece of the painting.  Last night I placed four canvases together and drew out the sketch from The Journal of Sketches.  As I mentioned before, horses are my weakest area.  After countless attempts, I feel satisfied with The Black Horses head, yet it still requires a lot of detail.  The body though, currently has eight different legs!  I will have to decide on the legs I want a little later.  The Pale Horse is around 2 feet tall and The Black Horse around 7 feet tall!  The horses are marching forward, that is why the same leg (right front) is lifted in both horses as they march in a uniform manner.  I may lighten The Black Horses eye a little later.  The decision to make the horse standing toward the viewer seemed the best direction.
GENERAL SKETCH (Still creating this scene):

The Black Horse’s chest is centered between four canvases.  There is a reason for that, it is the center of attention in the group of four.  The Pale Horse is the next, The Red Horse (not pictured yet), then The White Horse in the distance (not pictured yet).   


 
 

 

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