content copyright 2008 by peter gumaer ogden, santa fe, nm. copying and reproduction rights by express permission only.
I was having some weird challenge there in which most everything I typed turned into question marks or little square boxes. Strangely, I was unable to reach my old friend Bill Gates by phone, so I fortunately managed to correct this bug myself by removing the Adult Content Warning [which was only added to attract attention--they say 'forbidden fruit tastes good'] and the Hindi option. I suspect the latter caused this. For some reason it is easier to suspect a foreign, mystical language and culture than my own. This info might help other blogspot bloggers should you encounter the same scenario. Hopefully everything I'm writing won't turn into question marks at the end--that would be a VERY mean curry.
I was having some weird challenge there in which most everything I typed turned into question marks or little square boxes. Strangely, I was unable to reach my old friend Bill Gates by phone, so I fortunately managed to correct this bug myself by removing the Adult Content Warning [which was only added to attract attention--they say 'forbidden fruit tastes good'] and the Hindi option. I suspect the latter caused this. For some reason it is easier to suspect a foreign, mystical language and culture than my own. This info might help other blogspot bloggers should you encounter the same scenario. Hopefully everything I'm writing won't turn into question marks at the end--that would be a VERY mean curry.
It's now been over a week since I viewed these works and I have no images of them except in my wavering memory. They might all be congealing into one giant compound subversive botanical hybrid in my mind--a little bit like Purple Loosestrife.
TIM JAG'S "Loves Me Loves Me Not", 2008, mixed media on panel.
A very large piece. Almost a diptych as either side is so radically [no pun intended] different from its partner. Left side is intricately detailed undulating, snakey, art nouveauish gothic script with an occult Celtic flavor. One seems to be able to decipher certain code words relative to the piece's title but it's hard to be sure. As in several other works from this exhibit the right side, which is made up of cheerful multi-colored daisy like starrettes brings a shower curtain to mind, especially one from the 1960's that had been encountered in one's great aunt's bathroom in Levittown, NJ, Miami Beach, or Oceanside, CA. Possibly Dayton, Iowa as well.
Jag's painting has that eye-dazzling effect in the left half to some extent like one of those dizzying old brilliantly designed brain-quaking psychedelic aboriginal rugs on display at the M Rogers [Rodgers?] Museum in ethereal Taos. It is curious how this effect was achieved and whether it was intentional or sprouted of its own accord as often happens in the creation of visual art.
This painting undoubtedly required a tremendous amount of time and energy to produce. Having made quite a few miniatures lately, so small that I have misplaced several and cannot ascertain their whereabouts, this writer wonders how artists transport these leviathan canvases let alone stores or displays them outside the gallery space. Perhaps this is one of the reasons for the large construction crane in the museum's neighborhood.
This painting would have to be cut into six pieces just to fit through the door of my place. On the bright side--it's not likely to be easily misplaced. A great painting though if there's ever a pending division I'll take the left side--reminds me of Led Zepp on St. Patrick's Day and deep dark dancing secrets.
A very large piece. Almost a diptych as either side is so radically [no pun intended] different from its partner. Left side is intricately detailed undulating, snakey, art nouveauish gothic script with an occult Celtic flavor. One seems to be able to decipher certain code words relative to the piece's title but it's hard to be sure. As in several other works from this exhibit the right side, which is made up of cheerful multi-colored daisy like starrettes brings a shower curtain to mind, especially one from the 1960's that had been encountered in one's great aunt's bathroom in Levittown, NJ, Miami Beach, or Oceanside, CA. Possibly Dayton, Iowa as well.
Jag's painting has that eye-dazzling effect in the left half to some extent like one of those dizzying old brilliantly designed brain-quaking psychedelic aboriginal rugs on display at the M Rogers [Rodgers?] Museum in ethereal Taos. It is curious how this effect was achieved and whether it was intentional or sprouted of its own accord as often happens in the creation of visual art.
This painting undoubtedly required a tremendous amount of time and energy to produce. Having made quite a few miniatures lately, so small that I have misplaced several and cannot ascertain their whereabouts, this writer wonders how artists transport these leviathan canvases let alone stores or displays them outside the gallery space. Perhaps this is one of the reasons for the large construction crane in the museum's neighborhood.
This painting would have to be cut into six pieces just to fit through the door of my place. On the bright side--it's not likely to be easily misplaced. A great painting though if there's ever a pending division I'll take the left side--reminds me of Led Zepp on St. Patrick's Day and deep dark dancing secrets.
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