I'm not the Immortal Artist. You are

Immortal Artist is dedicated to exploring all aspects of experimental art and creating new and innovative techniques which other artists can use to strengthen their own work.


The blogs creator, experimental artist Grey Cross pursues and discusses art across a wide spectrum of artistic mediums. They include painting, sculpting, body art, digital art, and photography. With an emphasis on teaching artists to utilize today's social networks to further their own art and reputations.


This blog uses the Living Blog concept, an idea created by Grey Cross

Grey Cross Studios/Immortal Artist Operations

New Orleans

Email: greyacross@aol.com

Friday, October 31, 2014

The Other Passion in My Life - An Artists Joys

Wow you mean there is something else in his life besides art? Well let me tell you since the two are inextricably linked, that yes indeed there is.

His name is Billy Martin, but to the world he's better known as the incredibly talented author Poppy Z Brite. To me he's just my Billy. You can't live in New Orleans without hearing his name. He is as much an icon of this city as crawfish and Mardi Gras beads.

When we first met four years ago, he was just this guy. I did not fall in love with his work or his reputation. In fact for the first 5 weeks or so, I had no clue who he was other than this really awesome person that I had just met and fallen instantly in love with.

At that time my life was in a major transition. I was fiercely dissatisfied with my career as a photographer. I had never been in it for the camera. I could care less for the technical details of how a camera worked and learning about the technology of the field. I was in it for the art. I remember once that a young man wanted to talk to me because he loved my work and wanted to learn from me. I knew in the first five minutes that he thought I had a clue about the technical aspects of my work. I sadly let him down quickly by saying I hadn't a freaking clue about most of the things he was asking. He seemed at a loss and said with a bit of accusation "how can you make great photos then? Do you photoshop everything?". These were fighting words to me. I was NEVER a photoshopper. In fact, I'd never even used the program. I tried to explain to him that I approached the craft from an artists perspective and that great photos first came from how you saw the world and captured it with your lens. The conversation lasted another ten minutes or so and he left rather huffily and I never heard another word from him.

But the simple matter of it was, that instead of finding myself released by the art of my camera, instead I found it rather stifling to what I really wanted to accomplish as an artist.

Into this walked Billy Martin. Not long before, Mr Martin had made some drastic changes in his own life. First he retired from writing, also dissatisfied with his chosen work in ways that are better left to him to describe. Second, he was more than dissatisfied with his gender. He'd begun the world as a "she", and it absolutely never fit who he really was. Just prior to us meeting, he had made the most important decision of his life to begin the process of transition and let his body come into sync with the male his chemistry and mind always knew he was.

So here are these two middle aged, intensely creative people colliding and falling head over heals in love with each other. It was the best moment of my life.

With that love and with the encouragement he gave me, I suddenly set the camera aside and with a rush of creative adrenalin and absolutely no technical knowledge, I became a true artist. It was almost as if a dam burst in me and after a few cautious attempts at painting, I fell headlong into a creative maelstrom of which I hold Billy Martin responsible. He pushed me!

But what he forgot to do was let go when he pushed and he came tumbling into the creative abyss with me. The "once great author" suddenly remembered that writing is just one branch of a creative process that flows within us all. His came out with the written word but just as easily translated into this vastly amazing artist who (while he would tell it differently) could create works of art that set the imagination on fire.

I wont lie and say that the years since we met have all been joyful. They have not. They have had there share of hardship and learning and reeducating us both in things we thought we'd understood long ago. But not once in that time have we lost the joy of our finding each other, or the joy of creating. He's taught me more in the strength and resolve he has to become who he really wants to be and in turn made me a better person and a better artist for it.

As I said at the beginning of this little story, my two great passions in life "Art" and Billy Martin" are linked together so tightly that if I am going to acknowledge the importance of one, I must also acknowledge the importance of the other. They both make my spirit soar and my creativity explode.

I hope you have passions in your own lives because we all need them in order to step out of the mundane and into the magic of life.

With Passion,

Grey

Billy Martin on the right, big bald Grey Cross on the left

Finality

fi·nal·i·ty

The fact or impression of being an irreversible ending.

I am slowly rapping up a sculpture that has taken over 250 hours to complete. While there are still a few lose ends to tie up on it and some tweaking to do, I am starting that final process that includes things such as cleaning up the studio and placing supplies in their homes rather than scattered around the project. Assessing things like descriptions, photo work and material lists for the finished work and most important, starting to consider ideas and parameters for the next piece I want to create.

All this reminds me of the "process" of finality in art. In some ways I suppose its like watching a child grow and helping with the details of their life like college, housing and income that bring them from childhood to adulthood. My work is very much like child rearing, especially because I spend so much time with a piece and let it consume my world while it grows.

I learned long ago that I would have a short period of sadness that bordered on depression after I finished a piece of art, unless I had another ready on the launchpad right behind it to begin. I always say to myself, "well I'll take a few days off between pieces and relax a bit" but it never happens. I suppose that's because for me, art isn't work. Its play, its joy, its expression, its who I am, and face it, its hard to take a vacation from who we are.

I question whether I am just a nutcase, or other artists go through the same sorts of things. I suppose it would help if I could make art on a small canvas rather than something that is so large that it takes two of us to lift and position it. But it just ain't gonna happen.

Best Wishes for all your artist endeavors,

Grey


Tuesday, October 28, 2014

Artist of the Day - Hows This Thing Work?



The Artist of the Day program was created to give added exposure to artists who exhibit artistry that has reached a level where other artists can learn from their work in the way of style, quality, uniqueness and other attributes.

Artist chosen almost always will have some sort of portfolio online because I feel this shows a dedication to have their work seen.

I try hard to choose an artist that doesn't get much exposure (at least from what I can see from their internet presence), because I think its important that we as artists support and promote those of us who don't yet have a dominant voice in the art world.

I also choose based on the amount of work the artist has created. An artist that has 5 or less pieces on display I will usually wait on until they have more available to see.

Lastly I choose an artist that inspires me personally and speaks to my heart as all art is subjective to the viewer. If I chose only artists that were vetted by the art community, then whats the point?

Traditionally I rely on my twitter feed to find each artist because out of all the sites and sources out there, I feel it provides me with the widest pool of artists to choose from and is most representative of so many of us that are just trying to say to the world "I'm out here. I create. I take joy in it".

The Artists of the Day is posted each evening on Twitter as well as receiving a special post on the immortalartist.com blog. We encourage others share or retweet the Artist of the Day and give these amazing people as much exposure possible!

All Artists of the Day are welcome and encouraged to also partake in the "The Artist Speaks" program. To find out more about it, check out the following link



Besides the daily Artist of the Day Tweet, I also Follow Friday the 7 artists from the previous week. A little more exposure never hurts.

Please be aware that the Artist of the Day is only chosen Monday - Friday do to scheduling conflict on the weekend.

Creatively,
~Grey~

PLEASE RETWEET IF YOUR ON TWITTER! 
GIVE THESE FOLKS SOME EXPOSURE

Sunday, October 26, 2014

Framed! Basic Canvas Building For Artists on a Budget

Frame Building 101
Grey Cross Studios



This brief tutorial will explain frame/canvas building essentials.

Materials you will need the following supplies:

  • Unwarped lengths of board in either 6’ or 8’ lengths of either 1” or 3” width 
  • Canvas that is at least 1 foot wider than the frame your building
  • Two 2” Flat corner braces (package of 4 in each)
  • Heavy duty staple gun
  • A saw or a simple electric hand saw
  • Phillips screwdriver (electric screwdrivers are much easier than by hand)






I usually buy my boards in 6 foot or 8 foot lengths depending on how big I want the frame to be. I buy the boards at Home Depot and usually choose a pine because I find they are straighter and less warped. I always go with a 3 inch wide board because my pieces are heavier and need the extra support, but you can also go with a 1 inch wide board if you prefer. Because of the nature of my work, I find that normal canvas you can buy in an art store is not heavy enough for my needs. So I use a canvas drop cloth (also bought at Home Depot). I usually try to get the plastic backed canvas because I find it is very sturdy. Finally you will need two packages of flat braces for both sides of the frame (again also at Home Depot). For an average 4 foot completed canvas, you can usually get everything you need for under $30.

The frame being built in this tutorial is 2’ x 4’. Cut your boards accordingly for the size you are building and keep in mind that you will add an inch on either side because of the way the boards are laid together.

Lay the boards out on a flat floor in a square. Pay attention that the you match the boards exactly in each corner. This is where that extra 2 inches comes into play and if you don’t match each corner the same way you’ll end up with a lopsided frame.

Open one package of your corner braces and attach one to each corner. Keep in mind to keep your boards tight against each other while you screw them in. I find this the hardest part of the process because its easy to be slightly askew.



Once you’ve attached one to each corner, again making sure everything lines up well, you want to turn the whole frame over and repeat the process on the other side with the second package of corner braces. Your finished frame should look like this.

Please note that you can substitute the second set of corner braces for an inner brace instead (see photo). This is if you don’t want the braces showing under the canvas. I find this isnt a problem though because the canvas is thick enough not to show the flat brace beneath it.










Remeasure at this point to make sure that each side is even and nothing is askew.

Now whether you bought your canvas at an art store or at Home Depot, your going to want to iron it. This will make the stretching process so much easier if you’ve taken all the creases out of it and loosened the fiber up slightly with steam from the iron.


Once ironed you want to lay the canvas on the floor or a large table and lay the frame on top of it.



Make sure the canvas has no wrinkles in it and is perfectly flat under the frame. Take a ruler and measure that you have at least 6 inches on each side that overlaps. Cut off the excess carefully.

Now comes the stretching and stapling. You want to start with one staple centered on one side.



Now you want to move to the exact opposite side of the frame and pull on the canvas until its tight in the center. Don’t worry if you get a slight bulge, it will come out later. Again add just a single staple to the center once you’ve pulled it tight. Now do the same on the remaining unstapled sides, again just adding one staple in the center of each.

Now place an additional two staples on either side of the center staple, again go to the opposing side and do the same, making sure again to pull the canvas tight. Again go to the remaining sides and do the same. Repeat this process until you’ve stapled all the way to each corner. At this stage your canvas should be tight. Lift it and check it to make sure it is so. If not, then you messed up and need to restaple.



You should now have an overhang of canvas on each side. The overhang should fold under the back of each board and be stapled along the length of the board. This will allow for additional strength to the canvas.

You should now be left with only each corner to complete. I suggest the following youtube tutorial to show you how to cut and fold each corner to get it perfect.


You should now have a completed and tight canvas ready to use.



At this stage I usually prime the canvas. Gesso is the most commonly used primer. This will stiffen the canvas and make it usable and also tighten the threads a bit more. Because I work with metallics, I like to have a flat black canvas to start with, so I usually paint over the primer with flat black acrylic. The final product should resemble this:



I hope this was helpful. Email me with me questions. I’ll be glad to help or find me on facebook or twitter.


Friday, October 24, 2014

Lost in the Space of my Mind - An Artists Brainstorming Exercise

THE CUBE

The Cube is a brainstorming mind game that I've used throughout my life. It was initially created as a problem solving method that I developed for myself, but over the years its become a primary source for brainstorming my creativity and assisting me in developing new and unusual ideas for my art.

I begin by imagining a simple three dimensional cube in my mind. On the surface of the cube I place information about the problem I am currently trying to solve. Each side is devoted to a different aspect of the problem. Once I've filled the cube with what I know, I set it to spinning slowly in my minds eye.



If I run out of sides to add data, I just add more sides in my minds eye.

Its not unusual for me to have a dozen or more of these slowly spinning cubes hanging in the back of my mind. From this point I largely ignore them and let them do their work. A single cube may lay there for months or years.Occasionally some new piece of data will add itself to a cube from something I read, observed or crossed in my day to day life. When this happens a cube may start to spin a little faster. On other occasions, the data from one cube may suddenly drift and two cubes may bounce against each other forming a new cube that spins faster. Data from one problem has suddenly become part of the data and solution for another problem that may have been totally unrelated prior to that point.

As any given cube spins faster, its an alert to my mind that something has changed. I pull the cube out and examine it and re-evaluate its data.

When any given cube begins to spin quickly, I know I've found a potential solution to the problem. The quicker the spin, the more likely that a solution has been found. Usually the solution has been achieved from data that I never would have consciously considered before. But my unconscious often times sees solutions before my conscious mind can catch up.

I'm not sure this process is any different than what any good brainstormer does in his/her own way. The only difference is that as an artist I needed a method that was visual rather than just empirical data. This allows me to see the brainstorming process.

There is an actual program that is similar to this process in a vague way. Its called CMap. It allows you to visually link ideas together in a software program. I find it can be helpful if you need a conscious reminder of information in front you. But I find the cube method words better for me because it takes place at an unconscious level.

However you do it though, in the end its about bringing data together that may have never been considered before in order to form something completely new. You can never be sure where a good idea is going to come from and only from examination and consideration of what others may label as ridiculous, can something new be achieved.

Here is a more concrete example for its usefulness in art. I usually begin brainstorming ideas for an art piece well in advance of completing a current piece I may be working on.  When I begin, the data that I add to the cube includes not only possible bits of ideas, but types of materials I might use and ideas gleaned from past works and new techniques just used. By putting it all together there is a combining that takes place that often yields new previously unimagined concepts. Recently I set two cubes spinning in expectation of two different future pieces of art that I might create. Somewhere in my subconscious, these two separate cubes  (ideas) began to merge. I felt my heart rate quicken as I suddenly came to the conscious revelation that by combining the two ideas that I suddenly had a much stronger more vibrant piece of art to create. Both ideas by themselves were adequate, but only from the merging of those imaginary cubes in my mind did I suddenly realize the potential of taking a bit from one idea and a bit from the other to form a whole. When that cube in my head starts spinning fast, get out of my way because its crucial that I capture the information quickly and get it typed out, or else I may lose it if the cubes slow back down. Once I have the basics written out then I can begin the steps to make it into reality.

I know for some, this concept may seem like hogwash, but we each do what we know works for us. This works for me and I would like to think that it yields some pretty cool and very unique art.

Please feel free to comment on this, ask for clarification or share your own artistic brainstorming ideas.

In Creativity,
Grey

The Grand Sleep Experiment

I've never been one who has had a normal sleep pattern. I'm very nocturnal by nature and prefer late nights. I've been like this since my teens. as an adult in my 30's I worked third shift for a hotel for years, further reinforcing this night habit.

Quite a few years back I read about a Japanese scientist who had a strict regiment of two hours of sleep every eight hours and said it enhanced his abilities, gave him more time to work and felt more refreshing than a typical 8 hour sleep pattern each night. I've also read stories of people such as Edison and Gandhi who both were fanatical about not wasting time sleeping. In fact Gandhi was noted for saying that sleep was death and waking was reincarnation each day.

Health experts say that this is not good for the body, that we are meant to sleep our eight hours and that we will go into sleep deprivation if we don't get at least that much rest daily. This is especially true for children and teens and there is even a movement to get school hours changed to not make kids wake so early because its not healthy for them.

I can see the arguments for all these arguments, but what I've not seen is any concrete studies of how sleep effects creativity. I do know from personal experience that my creativity ebbs severely when I get too tired. I also get very depressed.

I was discussing this with my partner awhile back and I expressed my feelings that I felt like I was wasting time sleeping for a major amount of time and that I felt often more sluggish and worn out after eight hours than I did after taking a short nap. I mentioned that if I could get away from the social stigma of a strange sleep habit that I'd love to try varying my sleep patterns and see how it effected me personally and my work.

In his usual precise style of getting straight to the point my partner said "why don't you? When is there a better time?" He was right of course. Because of having been ill I pretty much stay close to home and my studio is right next to that home. We both work from home as artists. He was right, if there was ever a time to play around with sleep experiments, the time was now.

With that in mind, I made a simple lifestyle change. In the past, when sleeping, I would typically sleep 3 or 4 hours then wake up and lay in bed, read for a few and force myself back to sleep. Instead, I made one small change. When my body and mind woke back up, I got up again.

The first few days were difficult, I was off rhythm and I could feel it physically and mentally, but like all new things I felt there was a period of adjustment that needed to be overcome and that if it went on for too long, I could return to my old habits without much trouble.

My biggest concern  was  my creative level. I function at a very high level of creativity when I work. I've developed some great mental habits that allow me to maximize my creative process and get some pretty good results from it. I made a bargain with myself that if I felt it was effecting my creative level or my mental state that I would stop.

Instead, I found an interesting habit began to evolve. I was good for about 9-10 hours of quality wakefulness. After that amount of time, my physical and mental state began to degrade. I tired quickly and became creatively sluggish. I would cease operations, close up the studio and go to bed. I slept hard most times but it only lasted about 3 hours on average then I would wake back up feeling refreshed again for another 9 or 10 hours.

After that initial 3 or 4 days of adjustment, I seemed to settle into a nice pattern of 3 hours down and 10 hours up with no notable signs of creative loss or depression. In fact I think compared to my old sleep pattern where I would push myself 12-15 hours a day then sleep, that its been a very positive change.

Now I know that circumstances, recent illness and partner who has encouraged me rather discouraged me have allowed this to happen and that most are NOT in a position to even attempt it. Most have to live in the real world and that world doesn't allow for this kind of pattern. But I've never been one who is much for living in the real world. I've seen changes in my partners sleep habits also, falling more into sync with mine. He sleeps a bit longer than I do by about 2 hours but the same general pattern is emerging for him also.

I figure I may revert back to something more of the norm later, but so far I am finding this experiment to be successful. When I see my doctor in December I plan to let him know about it though and get his medical opinion about it. Since I will be 3 months or so into it by that time, I should have a pretty good understanding of how it is effecting me overall. But I can say it has been great for my creative levels. I am not seeing any degradation in my abilities to create and I am still getting a huge amount accomplished. In fact I think I am probably getting more done. Not because I am working more hours than before, but because I now have several creative peaks in a 24 hours period rather than just one per day.

If I am fighting anything, its the societal stigmas. The people who say "what are you doing asleep at 5 in the afternoon?????" or "why are you awake at 4 in the morning????" That becomes irritating after awhile and so few understand that neither of us is being lazy, but that we don't always follow the rules of society.

My guess is, that as we evolve into a 24 hour culture, that this will eventually change. Already some corporations are realizing the potential of not limiting their employees to a 9-5 work schedule and more and more flexibility is being created. I guess we'll see what the next 20 years brings to our evolving world.

In Spirit and Creativity,
Grey

Grey's Creative Space
Update 04-08-15

Its been an interesting several months sleep wise. I cannot say we have reverted back to anything resembling normal, but we have found an equilibrium for our bodies. It seems that the best sleep period (at least for me) is from 5am to noon. I seem to wake up the freshest then and ready to tackle the day. It gives me both daylight hours to do errands but most of the night to do creative work.

Sometimes it is difficult to maintain that. If we want to run morning errands its not unusual to still stay awake until 8am and then get to sleep around 10 or 11am. This throws us off a bit and it usually takes 2 days to get back to base morning hours sleep.

Art and the Imprecise Science of Perspective

Abstraction Versus Purpose

per·spec·tive - a particular attitude toward or way of regarding something; a point of view

I am often asked what I mean when I say that I attempt to create a piece of art that is both an abstraction and a purpose. Abstraction has no bounds. It can be a flight of fancy, where the lines of meaning become blurred. Purpose on the other hand is concrete. This is a flower. That is a woman hanging wash. Our mind snaps to the immediate understanding of a piece of art that has purpose. Our mind wanders with abstraction, it confuses us sometimes and makes us create our own meanings. 

Some artists can merge the two, but it is not an easy task. Some do it without even realizing it, while others must think through it carefully. Jackson Pollock was a true abstractionist. In each swirl of his paint everything was left to the imagination of the viewer. In contrast Renoir was the epitome of a realist. With every stroke he could recreate life with perfect purpose. In the middle is Picasso, who could do it all. While much of his work is abstract in nature, his skill level was that he could create purpose just as easily as abstraction and often merged the two together. 

When I begin to envision creating a piece of art, my mind cautiously explores both of these. Because my work is both sculpture and painting and hangs on a wall, I want the viewer at first glance to see an utter abstraction that confuses, yet draws the eye with its intricacies. I want the viewer to say to themselves "what in the hell am I looking at". When they approach, I want the purpose to snap into perspective and cause the viewer to realize that this is no hodgepodge of shapes and colors but something more intricate. 

Typically with a sculpture, it is approached from an angle that you can walk around and grasp its delicacies. With a painting, you face it head on. People are not used to sculpture that hangs. It throws off their perspective and this works to my advantage. 

I doubt I'm typing anything that most artists do not inherently understand, but I think many of us function at such a subliminal level when we create that we do not notice when we do things. I've tried very hard to understand my processes and I feel that weighing abstraction and purpose is truly one of the most important aspects of what I do. 

Here are some examples that I think represent the concept better than I can describe it.


In Struggles of the Lost Man, the cacophony of color creates an abstraction that has fluidity and almost a sense of looking into the heart of a fire when viewed from afar. The pewter frame with its curls of emerald green focus the viewer to the center of the abstraction. Upon closer view you realize that there is a lot more here than meets the eye. Their is both past, present and future represented here. I attempted to recreate the feeling of ancient cave art. The pewter frame is actually the fragile rock walls, the emerald green is mold and decay within the cave. The cave drawings represent the AIDS epidemic, with the hand reaching past a molecule of the virus with death on either side to grasp a line of medication at the top. 

There is multiple purpose here, that cannot really be grasped on first view from across a room. It is an eerie and haunting vision, but to the eye it is abstract until you come closer and examine it and learn first hand what the images conveyed mean. 

If you want to view the piece close up and from varying angles, click this link:

I am not really sure I am explaining this well and perhaps no explanation isn't really needed because as artists, even self taught we learn about abstraction early on in development, but perhaps it will help someone to look at it in a new way. 


Archipelago of Lost Souls is one of my favorite examples of abstraction versus purpose. Seen from afar this piece is truly abstract but has a simple geometry to it that catches the eye and loses it in the swirl of blues, greens and silvers. When approached the perspective jumps into view and the blues shimmer into heaving waves around an ancient volcanic caldera that forms white sand beaches of small islands. Using hot wax to create the waves I was able to raise and peak them lending movement to the whole piece. 

If you want to see close ups and angles of this piece, click here:

In the end, I suppose its all in the eye of the viewer. But the process we go through when creating art I would like to think gives new perspective to what it means to be an artist. Perhaps I over-think things, and many of the concepts here are done at such a subliminal level that I really have to think through it carefully to even express it. But I think it is a crucial part of my art and something I've only developed over time. My early work is not nearly as representative of this concept and sometimes its fun still to just create something that is pretty and does not have multiple layers of meaning, but that's not where I am evolving as an artist and I doubt I'll ever go back.

Creatively,
~Grey~

Thursday, October 23, 2014

The Eight Foot Monster In The Studio

Right around the beginning of 2014 I built a monster canvas that measured 8 feet long by 4 feet high. It took me a week to build from scratch. Unbeknownst to me at the time, I was already pretty ill. My strength was ebbing quickly and I found this piece to be particularly challenging without really realizing why. While I went on to produce one other piece (Pristine) afterwards, these pieces would be the last done before I fell so ill that I could no longer work at the steady pace that I was always known for. The eight foot canvas which came to be known as "Souls of the Ocean" was an underwater piece that used hot wax to create ocean currents and a ship graveyard strewn with debris and a real ships chain extending down the center of the canvas. (See photo)



 The piece fought me the whole time I worked on it. There was no flow, none of my usual joy in creating, no inspiration. In retrospect I know now that my body was fighting other things and as a consequence the art suffered. When I completed it finally, it was moved into my storage room so it wasn't taking up so much space in the studio and there it remains to this day. Unlike all my other work, it was never photographed, never described, never anything. The largest piece I'd thus far created and it was cast aside and forgotten about.

 Now with some of my work, I may lose the inspiration or find the piece wasn't going where I wanted it to go. These pieces usually got placed aside and re-evaluated at a later time. I can happily say that 99% of the things I've created were completed even if they sat for a year waiting for the proper inspiration to hit. In some cases with stunning success (at least by my terms). But poor Souls of the Ocean has never invoked that desire in me. As it stands, it is a complete work. It was not half finished. I managed to complete it from one end to the other. But it lacks that spark of emotion that I try to place in every piece of art I create. Its "just" a painting.

 Now that I am completely well again, I've created no less than a dozen pieces since my recovery, challenging myself over and over again to create something new and unusual and push my skills to their limits. My art is like a rubiks cube to me. I present myself with a nearly impossible challenge and find ways to make it work. The latest piece "The Winter Fortress" has pushed me so hard and had so many obstacles that I've been about ready to crush it several times, but the spark of inspiration is present and I've become (I hope) a better artist for it.

 But I feel I've done Souls of the Ocean an injustice. Yet in its present completed form, its like a ship in a bottle, there seems to be no way to remove it. So I've decided once The Winter Fortress is completed, that I am going to break the damn bottle. I rarely destroy something once its completed, but My intention (I think) is to paint over it and create a totally new piece in its place. I have no clue what it will be yet and I have no intentions of destroying it and knocking the frame down. That would do no justice to the original piece which will still exist beneath its new face as a memorial to a hard time in my life. I may even leave elements of its original form in place, but its time to create something new.

 When I recovered from being sick, the Pristine piece was still sitting on my easel. I had completed it, but had done little else with it. I discussed it with my partner and asked his thoughts on whether I should do more with it and he had the wisdom to point out to me that it represented the artist that I was, and that now my art would be slightly or perhaps radically different than what I had created pre-sickness. And he was indeed right. There is a new life to my work that was not present before and Pristine the representation of that in between place where I crossed over from one life to another. Pristine was officially closed and photographed and added to my portfolio. Now its time to tackle that one last piece that represents my old world, and bring it with me into my new. That is if I ever get The Winter Fortress finished!

And yes, for those that follow these things, this is the first entry for the new blog. Feel free to post comments and thoughts here or anywhere else in my vast online universe.

I hope your art challenges you and grows with you!

 In Spirit Grey

Monday, October 20, 2014

FEATURES OF LIFE - By Eman Elnezami





Immortal Artist seeks to give a venue for creatives to discuss and show specific pieces of their work. We want to give you a forum to talk about the history and development of specific pieces of art. If you would like more information please check out the following link.




Artist: Eman Elnezami
Location: Egypt
Work of Art: Features of Life


Click to Enlarge

Oil painting on canvas 12" x 16"

A story about a free spirited lovely young woman who is surfing through life positively and beautifully with amazing perception of freedom. She is upside down looking to the fierce features of life carelessly. She does not care about the viewers you see, living in her way by her methods! She is putting her hands in a bloody pot but she uses it as a supporter to her own hands! What if you can use your challenges like this? What if you can be in RECEPTIVITY to this feeling of freedom? Her orange red dress is flowing, falling down and her legs are in the position of stability, pure flexibility and happiness. One of her hands is off; she is ready for the next step in her sifting through life. Looking at the features facing her, feelings of confusion may come up. Eyes are looking at you in a way that is not simply understandable, whatever message you feel by looking in these eyes, is true for you and life is like that as well. The features of life can be fierce, warm, bloody, a little bit smiling, having blossoming trees, yellow circumstances, being BLUE at times, having sharp edgy look at other times or space. Life can appear confusing or clear, beautiful, gloomy or exciting, fierce or calm! All is ok. All is fine, live and accept the being of life AS IT IS in all cases, believe in  the softness of life in the hardest times. BE THAT LADY! LOVE TO LIVE! 



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The artist has created a special audio to accompany this description. You can listen to it here:




You can view this and other works by the artist at: https://www.behance.net/emynezamye1c5

You can reach Eman through the following:

Twitter: @emynezamy
Facebook: https://www.facebook.com/pages/Eman-Elnezami/1555001101446954
Soundcloud: Eman Ali

Eman Elnezami

I am a physician, who started using oil painting as my own tool to release stress and HEAL my own inner soul . I believe the emotional art is a bridge between your inner-self and outer appearance. I used them as following; put intention into a painting everyday like motivation and dive into some part for ex the eyes, I see something that motivates me forward.Whatever intention you put, you get . Also being in contact with different people every single day made me carry emotions that are not mine and I needed a channel to get them through, exciting thing happened, every single one of them contains mixed amount of emotions so you will find at least one emotion that you will feel. I paint interactions between people as well, woman and her child, coworkers, friends .These are similar to everyday interactions. Something in common in all my work. You will feel something! I use oil on canvas in all my work. I fell in love with the similarity between emotions of human kind, it is all the same! Instead of feeling the pain inside I strongly believe that you can get them up in front of you seeing, acknowledging and releasing them . Take as much time as you would like in front of them.




FOOLS PARADISE/OVER THE EDGE - By Melissa Tallman





Immortal Artist seeks to give a venue for creatives to discuss and show specific pieces of their work. We want to give you a forum to talk about the history and development of specific pieces of art. If you would like more information please check out the following link.




Artist: Melissa Tallman
Location: Iowa, USA
Work of Art: Fools Paradise/Over the Edge





GHOSTS IN BLUE - By Eman Elnezami





Immortal Artist seeks to give a venue for creatives to discuss and show specific pieces of their work. We want to give you a forum to talk about the history and development of specific pieces of art. If you would like more information please check out the following link.




Artist: Eman Elnezami
Location: Egypt
Work of Art: Ghosts in Blue




Artist of the Day - Victoria Stewart


WORKING NOTES:

I have a particular love for shamanic art. Victoria's is some of the best I've seen. Her ability to touch the spirit world with her work is something that every artist can benefit from learning and employing in their own work. Whether its shamanic art or not, there is an emotional level that spirit art ads to anything created. 


Please leave this artist a note here if you like their work. 

If you'd like to be considered for the Artist of the Day, please email a link to your portfolio and I'll be happy to take a look. All emails to:

gcsartno@aol.com

View more information on the Artist of the Day program at: AOTD

Artist of the Day - Kevin Grass




ARTISTS PORTFOLIO

NOTES ON THIS ARTIST:

Its rare to find an artist with Kevin's talent that isn't already known around the world. I rarely say that about anyone's work, but this man has talent of the kind that is rarely seen. It is not just his skill level as an artist, but his ingenuity to create truly unique pieces. His painting called "Inheritance" is a particular favorite.



Please leave this artist a note here if you like their work. 

If you'd like to be considered for the Artist of the Day, please email a link to your portfolio and I'll be happy to take a look. All emails to:

gcsartno@aol.com

View more information on the Artist of the Day program at: AOTD

Showcase Artist - Leigh Kemp



  • Artist: Leigh Kemp
  • Email: enquiries@leighkempphotoart.co.uk
  • Website: http://www.leighkempphotoart.co.uk
  • Blog: http://www.leighkempphotoblog.co.uk
  • Location: London
  • Twitter: @leighkemp123
  • Mediums: Fine Art Photographer, Digital Artist

Please leave Leigh a note at the bottom of this page if you like his work




Artist of the Day - Kerstin Jacobs


ARTISTS PORTFOLIO

NOTES ON THIS ARTIST:

 Anyone who knows me, knows that I have a particular passion for space art. So when I saw Kerstin's work I fell in love with it. But as an artist I also took note of the intensity of detail and abstraction she also puts into her pieces. I also like the way she works out her pre-sketches first. A lot of digital artists just sit down in front of the computer to work without any regard to the artistic angles of their work. Kerstin shows that digital work can truly take its place as an art form. 

Please leave this artist a note here if you like their work. 

If you'd like to be considered for the Artist of the Day, please email a link to your portfolio and I'll be happy to take a look. All emails to:

gcsartno@aol.com

View more information on the Artist of the Day program at: AOTD

Artist of the Day - Paolo Porelli



ARTISTS NOTES:

Paolo's sculpture work I admit is a bit disturbing to the psyche, but art is not always supposed to be easy on the eye. Its supposed to make us a bit uneasy and make us look inwardly. This artists work definitely does so! His piece called "Excess" is my favorite. 


Please leave this artist a note here if you like their work. 

If you'd like to be considered for the Artist of the Day, please email a link to your portfolio and I'll be happy to take a look. All emails to:

gcsartno@aol.com

View more information on the Artist of the Day program at: AOTD

Artist of the Day - Sasho Blazes


ARTISTS PORTFOLIO

NOTES ON THIS ARTIST:

Sasho's work is ingenious. The ability to merge such diverse subject matter into a cohesive piece of art is not an easy thing. Even though Sasho is from Macedonia, I can't help but feel like I am sometimes seeing tribal art from deep within the jungles of South America. I think the early work in the series "Strange Paradise" is some of my favorite.As a side note it was also refreshing to see Sasho's portrait work and that there was no evidence of a portrait of Marilyn Monroe or Jimmy Hendrix which anyone who can make portraits seems to fixate on. Great work Sasho!


Please leave this artist a note here if you like their work. 

If you'd like to be considered for the Artist of the Day, please email a link to your portfolio and I'll be happy to take a look. All emails to:

gcsartno@aol.com



View more information on the Artist of the Day program at: AOTD