Can you solve these simple equations and find the pattern?
This was the question I posed to friends on Facebook. Thanks to them I found some missing brackets and corrected the above image, representing digits as equations.
From this, I created a simple book reminiscent of a child’s counting book or math exercise book with a number represented on each page by its equation. If you include the answers to the equations (left as an exercise for the reader), each statement has all of the digits from zero to nine appearing only once. I created the book from a school desktop flip calendar, giving it a distressed old school look by painting the pages with a mixture of gouache and acrylic house paint. Letting the wet pages stick together before separating and applying a second coat produced the rough surface for the equations in pastel, sharpie and pencil.
The title of this work No. Digits is a play on the idea that “Number” is often abbreviated as “No.” and for each equation there is no digit for that specific number until you solve the equation.
The mathematics of the golden ratio [phi (ɸ) ~1.61803399] and of the Fibonacci sequence [1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, …] are intimately interconnected.
At 90 x 55 cm, the dimensions of the Ikea Lack Coffee Table are close to two consecutive terms of the Fibonacci series, and give a ratio of 1.63636363636 which is only 0.01832964761 or 1.1328%more than phi. Our coffee table was in need of refurbishment and so I painted it with this exaggerated approximation of the fibonacci series / golden ratio spiral.
Over the last few years the landscape around our neighborhood has changed as more and more of the older buildings are replaced with luxury apartment blocks.
A neighbor behind us had a two storey house where they kept chickens on their rooftop under a grapevine.
In 2014 they and others in the street sold to developers and their houses were demolished to make way for new construction.
Concrete foundations for the new building were poured and then demolished again. Rising five floors above the second foundation the new apartment construction took about two years.
The new monstrosity now blocks our view of the city, hills, afternoon sun and sky.
This painting series aims to capture that there once was sky.
I’m writing a book about how to profit from procrastination.
“I was procrastinating on Facebook and saw that a friend had recently written and published a self help kind of book.
I reminded myself of my unfinished novel.
I continued on with my procrastination on Facebook.
However, in the deep dark recesses of the back of my mind a seed of an idea was germinating.
Why not write a book about how to make a profit from procrastination.
It started as a joke – make a cover and some chapter outlines. Then presell it.”
My quick research shows that there is not a lot written about the positive effects of procrastination. Most of the literature is about the dangers of procrastination and how to avoid it.
Almost everyone I know, for as long as possible, wants to procrastinate their inevitable death.
There is money to be saved by waiting instead of impulsively buying. Markets and products development can be explored while actively procrastinating on the finished article. And delays can often bring the wisdom of hindsight as others make mistakes you can learn from.
After one month and a day of procrastination, I wrote enough of the book to start selling it. In between procrastinations I will publish further editions of the book.
Acquiring the 40 famous paintings for 40 Most Mentioned was the hard part. Slicing and splicing was simple.
Creation of 40 Most Mentioned – Mona Lisa is based on Visitors of Louvre in front of Mona Lisa by Edal Anton Lefterov, available at http://commons.wikimedia.org/wiki/File:Mona-lisa_in_the_Louvre.jpg, and is likewise licensed under the Creative CommonsAttribution-Share Alike 3.0 Unported license (CC BY-SA 3.0).
Disclaimer: No physical paintings were harmed in the production of 40 Most Mentioned. The Mona Lisa was intact when I visited the Louvre in July 2013. If any of the paintings have been stolen or damaged, it wasn’t me.
I occasionally try to imagine what it would have been like before everything. Prior to creation, there was no time, no space, no matter. No light. No dark. No past. But all of the future. It is hard to get my head around it. Even harder to express in a work of art.
What was it like waiting for the first sunrise?
I have black wooden desk where I spend most of my time.
Like a sculptor who sees the statue in a block of stone or the potter who sees the pot in the lump of clay, artists see the potential. Their fear of empty space and abhorrence of a vacuum compels them to create and turn their imagination into reality. Motivation to overcome procrastination.
A social media presence is essential and Theo has recently joined a few social networks. Most of them allow for customization of the profile. Often the color scheme, background images and sometimes fonts are changeable to suit the personality of user.
It is rather dull and grey. It cries out “replace me with anything colorful!”.
Producing Horror vacui to answer this cry was rather quick and simple:
Create an image 851 by 315 pixels in GIMP (OpenSource photo editing software).
Capture an image of pencils and a paintbrush with my Macbook FaceTime HD camera and Photo Booth.
Import the photo into GIMP and use various tools and effects to produce the art.
Select the objects and move them to a new layer.
Select the natural highlights and shadows of the background and render clouds/plasma and apply canvas and weave filters.
Add a filters for coffee stain and torn border
Thiswork, Horror vacui, represents what the artist sees when they look at a blank canvas. The image hidden deep within the fabric is trying to break through the canvas and become visible.
Horror vacui is representative of theme of potential in Theo’s Prospective collection – art which is prophetic or predictive in nature and hints at what could be. Due to the urgency and speed of its creation, this work is not necessarily representative of the quality of the rest of the collection.