ZERO-MAN: Maximalism Through Oil Painting. Introduction. Chapter 6.


A piece of art has as much to do with its context as the artist to his or her environment. From what perspective do you witness the art? Is it in a museum, gallery, or beside a trash can on the road? This is the perspective of the observer. The other vital perspective is within the creation of art itself. This is the primary element and lesson I will touch on here in these writings. What is inside the work? What made that artist produce it, how was it assembled, or why? This is the most significant question of all. As monumental as where do we come from or where are we today? This is not only the question of what is in the painting but includes what this artist is. A painting is alone a reflection of an artist’s ability. No, it has nothing to do with that artist’s name. This is a question of property. Another topic entirely, one with which I have a coarse issue. Not allowing most artists to perform the task they were put here to achieve. Which is to project to the world what vision that artist has to offer society.

We control reality. Artists set the standard. Who you choose to support and put your eyes onto make our future. All the rest is cannon fodder, residue, and collateral. All major artists become corrupted and compromised by power. Once your finger is on the trigger. Your sights on the target. Hovering over the masses. When all have your ear and eyes. They step in. Who are they?

Painting is not about beautiful pictures. It is relative to your surroundings, as you are a product of your environment. How far do you travel? How far do your paintings pierce time? Are you working to please the spectator or challenge them? Are you challenging yourself or abiding by your position? Is it political, natural, or banal? Is your perspective a consequence of coercion? Money, power, or control? Guns, privacy, or protection? Crypto, de-centralized, or a control mechanism? It seems there are no countries or states where all of the control is neither a satanic cult nor an invisible empire pulling the strings. These points are, in the end, what controls a name. Are you painting a canvas as a window into time for the masses as history, or are you projecting a means by your masters to display their power over you? There is also the third option that you are exposing them by what you are portraying—all these details out in the open for all to see.

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