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the adventure of roses, scott richard
Image by the art of liquid painting
my first form of liquid painting was on abstract spiritual forms in motion.
i finished that series in 1999 after a show in which no one seemed to be intrigued by the essential qualities of what our eyes show to us.
i switched over to REAL representational art.
but i kept the NOT GALLERY aspect of my work pretty strong — using way more black, only tints and shades and full chroma colors. i painted my feelings with the colors i chose.
and "my feelings" weren’t intended to be my own.
i love classical ideology.
form and beauty and also our modern understanding that the 1 percent is fetish and nazi/fascist by its nature.
so i’m not into perfection as much as the idea of things that are just obviously better or trying or engaged or activated.
arguments about perfection are weird.
why do people like to fight so much?
my eyes tend to see all things as rather ordinary and i want to show off the simple things i find, to revel in their nature and then to figure out an expression that suits the two — the object itself and my attitudinal relationship with it. for me, more than ambiguous emotional terms, i favor HEAT and MOTION as the aspects of light that i choose to focus on.
because my life is so interlapped with photography, i am both a camera and a painter, a robot and a brain, a drone and brighter magick user.
i can’t help this double nature and like prince said, you’d better know your dark side and your bright side and if they can get along and you end up bright, that is the path of the philosopher guide.
so if that’s you, now is the time!
RISE up among the people.
use your intelligent power to untangle the ropes of darkness!
but i digress.
so through and along my urban and townsy journeys — santa barbara, seattle, san francisco, santa fe, san diego, amsterdam, manhattan — i eventually found my way to flowers.
they grow in the front yards of the people’s homes wherever i walk, or in buckets at a florist shop along the street or a grocery store. the beauty of flowers is everywhere.
and flowers are a reminder that everything dies. but it can be beautiful.
and we cut flowers for their beauty.
for me, roses are wanton.
they are my third form/series of liquid paintings.
the second one, and the most explored/exploded, is the exploding rainbow dahlia.
and where roses are wanton and vain-glorious (really, i had no idea!), the dahlia is like a swiss community with its order and its architectural phenomenon.
my exposure to dahlias was limited before i arrived in san francisco. i had painted orchids, peonies, chinese rose, birds of paradise, cala lilies, california golden poppies, and tulips.
but dahlias and the rainbow seemed like they were made for each other. that those TWO THINGS were US. that we, as people were just like dahlias in the way we ordered and constructed our lives. the dahlia with its form for capturing and storing light and moisture, and the exploding rainbow with its blatant and broken spectrum of blasting color.
so i floated those dahlias in space where a million things were happening all at once. everything as one moved into a constellation. i added multiple sided die and glinty bits of ambiguous crow candy for the eye.
vanity and selfism, the star charisma of the rose’s nature — that of desire and death masked as finality — was just another form of circustry in this new unexploited world of die and glinty, treasury bits spinning and rolling and falling through space, into space, as space. hitting and colliding, forcing loss and explosion and aiding decay.
and there was a war in these pieces which forced them into a liquidity.
that war was between the clarity of stasis and our fascination with movement.
the impressionists, aided ENTIRELY BY THE USE OF THE CAMERA, had learned that aperture values that the camera’s limited technology could exploit at the time had shown new essentials.
aperture values taught the impressionists that they could DELETE things from the environment to increase the imaginative suggestibility of the viewers mind.
for example, if i have my focus on the nostrils of a racing horse and progressively blur and fade out the clarity as the horse goes away through foreshortening, the horse’s nose will seem MUCH closer to the viewer and more three dimensional than it would if the receding part of the horse were in perfect detailed clarity.
people like manet realized even further, using the same deletion technique of the intelligence, that a glove could literally look MORE glove-like with just three strokes of a brush. indeed, that the SUGGESTION of a glove was infinitely more powerful and perfect to the impression of the piece than an actual glove ever could be.
so in my liquid painting, i envisioned a human circus as exploding rainbow dahlias. our vanity and self-love; our beauty and our grace; and our aging and exploding.
all with dreams of promise, jewelry in the sky, and an unending ability to NEVER grasp much of anything.
and we are constantly coming in and out of focus in our own lives, a living constellatory fascination with ourselves and others creating patterns and habits and occupations.
and that rabbit hole lasted for several years.
it started in 2010/11 as a discovery process and eventually ended up producing over 6,000 images of that world. enough to create an app that could endlessly recreate the world imagined.
and the goal was to document every conceivable color pattern that the human eye could see.
and i think it worked.
it also led to the conclusion of the PIXELWITHIN theory.
which i have elaborated over on torbakhopper’s news outlet, lol. the merkaba is a beautiful thing!!
so now the rose.
sometimes slutty, sometimes regaling and proud. sometimes curvy, sometimes more than curvy or with torn edges and hot little shadows.
england had a war over roses.
just like the u.s. had a war over rubber. just kidding. it was all about democracy and partiotism.
and roses are more likely to cause trouble than dahlias.
dahlias are all about the community as a metaphor.
there is a fundamental "coming together" about dahlias.
whereas, honestly, roses are all about falling apart.
this large group of examples are all different now. just like the other forms of liquid painting, CHANGE is a part of the game.
Cruisin’ at Ultra
Image by XT Inc.
The boy to girl ratio on this yacht is quite disturbing. But, then again, that is the reason why I decided to follow the boat in the first place. You cannot go wrong with boats and bikinis. I think the drone somehow gravitated toward these girls without any remote control commands, which is quite bazaar. But, I do like to think that I have a smart, titillating drone.
During my coverage of Ultra Music Festival, I also captured everything surrounding Ultra; all of the scenery that could not be missed or left out when creating a well-rounded documentation of this massive musical venue. Regardless of what I am doing or where I am in the world, I make it a priority to attend Ultra in Miami. Honestly, it seems to get bigger every single year.
Thinking back to my rookie days in 2009, when I first attended this event, the total attendance was less than 100,000. Six years later, that number is pushing 300,000. Well deserved progress!