late afternoon on Seroquel Lake, scott richard

applying camera-learned visual techniques of light and shadows to painting created the whole concept of impressionism.

it was stolen from photography.

the age was pre-electric.
homes didn't have lights that flipped on and off, drenching the darkness with overhead glares.

instead, realizing that there is no true BLACK in nature's shadows, the camera simply wouldn't find its own ability to make it up and put it on the color chart.

in french escapism, black is used like an accent to mark/denote gravity and the weightiness of motion or the sticking point of a shadow.

but the use of darker grays that can shimmer with a warm tone or a cool tone are almost always valued more in the color palette's love affair with itself.  

the use of gray as a mixing agent had given birth to a whole new way of imagining life.

and there are hundreds of painters from before monet who were exploring all of this avidly.  they are the hidden artists that are being intentionally hidden at this point, like next year's netflix episode of your favorite show.

it's already wrapped and finished, but it's not released.

another thing in french escapism is the unrelenting use of class and leisure to dictate every aspect of the painting's suggestions -- peacefulness is imposed, restfulness is mandatory, contemplation is expected, feeling better is required.

and i love this because it's so PRE-ELECTRIC.  there is the same wild longing that you can see if you're brave enough to read something light by the marquis de sade.

you don't have to read too much before you get this horrifying vision of the marquis' greatest fantasty -- to be a PORN DIRECTOR.

which means that he was REALLY FANTASIZING about moving imagery.


that's the truth!
he foresaw FILM AND VIDEO and dreamed about it, wrote his words like he was a porn director doing multiple fantasy sex shoots.

and it's INSANE.
there is a deep madness in his desire and longing for the FKING MOVIE IMAGERY RECORDING CAMERA DEVICE.

it's like he's wishing for a space alien.

or a rocket ship, but that was the equivalent intellectually at the time.

it was just out of reach, this fantasy machine that would record his PERSPECTIVE of the deviant human's fantasies.

so i'm trying to infuse these paintings with the same intensity with the titles i select to direct the viewer.

therefore, all the pieces take place in a landscape that is named after popular antipschotics and pharmaceutical drugs here in the united states.

the works are dedicated to the print industry which i have titled THE CHURCH OF MONET.

it is a massive industry.

these works are liquid paintings, which means that they get painted on like a movie until they reach a place where i'm 100% content with the storyline and what it has achieved throughout its lifetime.
                             
the pieces, i've decided, when finished, will be attributed to torbakhopper.