thermochromic | Creator's Studio

The Revelation Painting

www.therevelationpainting.com

INTRODUCTION:

THE REVELATION PAINTING

La Pittura di Rivelazione

Overview: 12 feet tall x 40 feet long utilizing thirty 48″ X 48″ canvases. Twenty canvases are gallery wrapped, highest quality to withstand the test of time, six are custom birch wood, with holes drilled of various sizes and fully functioning doors on the backs. Four canvases are custom birch wood in order to carry the weight of over $140,000.00 of crushed precious and semi precious gemstones. The pearl gates are made from crushed Akoya, Japanese saltwater pearls! The painting incorporates thousands and thousands of dollars worth of highest quality Golden and Liquitex acrylic paints, 24K gold flake and leaf, and complete fiber optics set ups which illuminate God in a way never seen before in fine art. Customized sections of the painting give it the ability to move and bleed (Truth-The Hemorrhage of Pigs!), then returning to its natural state.

The painting initially appears as a religious painting alone, the final book of the bible, Revelation with seven magnificent scenes and sub-scenes labeled in various languages, yet underlying there is another painting of politics and corruption. Within the painting is the ancient and ongoing battle of good v.s evil, mysteries and messages embedded within the artwork which are not readily visible. The making of this painting has spanned nearly 16 years and is estimated to be released 2014-2015. Upon the painting’s release, a stunning revelation will be revealed which ties this painting to current world events which was not discovered until 09/2009. Two other unknown mysteries of Revelation were also uncovered while creating this painting and have been missed throughout history! Please see the blogs for more detailed information about the making of this historical work of art created by one artist, and the photos as they are updated.

Upon the release of The Revelation Painting seven journals will also be released within 2015-2016 which give an unusual first hand look inside the mind of an artist while visualizing and detailing each scene revealing the trials and tribulations of aspects required to make the painting. The Journal of Measures (and Numbers) details not only the transition of moving an idea to giant size, it also covers odd events regarding numbers associated with the painting. The Journal of Sketches reveals artwork from the conceptual stages and beyond. The stones used in the painting are discussed in a journal named: The Stones, and Truth-The Hemorrhage of Pigs! talks about the section of the painting which bleeds.

Within The Journal of Acknowledgement participants are given an opportunity to express information to the world! World-wide exposure to the arts in many regions dealing personally to obtain supplies for this historical painting. My endeavor is to help bring knowledge around the globe of not only the beauty of arts all over the world but to help people understand that profound inspiration exist in a world not so far from their own! My first stop…Africa! With global participation in The Revelation Painting for the past twelve years there has been silent participation from all over the globe to complete this work of fine art; what I consider to be a “global effort”. The ultimate endeavor is to bring a sense of unity through visual peace by bringing to light the beauty of natural resources, therefore the people of that region or area. Mysteries of Revelation which have pulled at the threads of many genius human beings are revealed within the painting as well.

Seven journals will accompany this massive work of art. Nothing like this has ever been done in art or the history of mankind! My Creative Influences & Favorite Artists, The Philosophy of the Revelation Painting: Philosophy is the study of general and fundamental problems concerning matters such as existence, knowledge, values, reason, mind, and language distinguished from other ways of addressing fundamental questions (such as mysticism, myth, or the arts) by its critical, generally systematic approach and its reliance on rational argument. The word “Philosophy” comes from the Greek φιλοσοφία [philosophia], which literally means “love of wisdom”.http://en.wikipedia.org/wiki/PhilosophyAs noted in the definition of philosophy: A simple and profound question to ask yourself is simply, why am I here? The Revelation Painting helps to bring to light an answer to that question by subjecting the viewer to a combination of factors that overlap in the world we live in. In order to see why we are here, we have to see the world around us. There is a significant difference in “seeing” and understanding, it is a global effect. We can look at every single detail but miss the entire forest because of the trees. To understand, for example how the forest survives, you must understand the delicate balance of life but you cannot think that you understand if you do not see the “big” picture, otherwise it is no less than walking around blind with 20/20 vision!

How the problems in the philosophy are addressed throughout The Revelation Painting is approached through certainly what would be termed an unconventional route. Artist throughout history have used their talent to help their audience see life through a perspective very different from what they are accustom. People are attracted to the different view of the world gazing through the artist’s eyes mainly because it is an escape from the world they are used to or literally trapped within. The world of imagination can take anyone as far as they would like to go whether it is by their own hand, or that of an artist. Often times an artist’ endeavor is to connect with the viewer.

Difficulty arises through expression whether it be an idea, placing a shadow correctly within a work of art, or most often bringing an idea to reality. Historically the renowned artists are those who were able to achieve a connection with people through their art and master the difficulties associated, hence the “Masters”. The Revelation Painting’s effort to master difficulties of projecting ideas to vision and within the painting is a core network projecting the delicate balance of life in an unconventional manner. The blogs, journals and information associated with the painting was designed to help the viewer understand the complexity of the unseen network within the forest of this massive painting.

I have worked on the Scene II God sketches and am finding some problems. I had originally planned to make a fiber optically lit area which concentrated in about a 3 foot area dissipating over approximately 5 feet to the left and 6 feet to the right. The problem is that I did not consider placement of the Four Living Creatures or the effect of where the 24 elders would be. The scene is further complicated by the 7 candlesticks or the one candlestick with 7 candles in it.

I had planned to make the light the center focus but to do that, the frame of the wooden canvases (built to hold the fiber optic cables, with doors on the backs). The wooden canvases are being made and will have to be used as originally planned. The key is to shrink the core size of the bulk of the light and make it widely scattered as it comes off the core. Holes will have to be drilled through art which is already completed. There is a big risk to this plan.

I could jeopardize the finished work by drilling through it, or drill first, but then I would have to work around the finished work. That, to me causes far more problems than completing it then drilling. I am considering using the color wheel, pastel fiber optics in the scattered holes away from the core. Then the changing color will take away from the loss of light from not drilling through the frames and decreasing the canvases integrity.

The Four Living Creatures will have so many eyes that pupils and holes will be difficult to distinguish since that part of the painting is up around 10 feet from the viewers direct vision, which is an asset in this section. The drilled holes of light do not actually need to be through the creatures but the effect of “being in God’s light” is important I feel to show that these creatures are a significant part of God as they are with him at his throne.

The 24 elders (priest) are undecided at this time. I am thinking to making them somewhat blurry from the light of God and not detailed, just the likeness of 24 men. The 2nd part of the painting; Truth-The Hemorrhage of Pigs! also poses another problem. With thermochromics, the rule is “the thinner, the better” and with the clear to red it is imperative not to have any thicker areas because it will remain pink. Red is a hard pigment to work with.

To solve this problem, I was thinking about very thin plexiglass since thermochromics have to be replaced (washed off and re-coated) around 1-2 times a year. If the plexiglass was removable, it would be a much simpler task and re=coating would be easier as well. The plexiglass would be thin enough not to add width to the painting and make it seem uniform. I will have to get the plexiglass cut in a custom drip pattern to appear as though blood is running down.

What I imagined to be a simple and fast scene has truly become very complicated. This scene is most likely the most important of the entire painting. It moves and is brightly lit, and it bleeds. I will also be using the crushed rainbow quartz, the glitters of “diamond dust”, hologram and plain white. This scene will need the strongest sealer I can find due to the wear and tear and the elements used to create it. I am always focused on the painting’s ability to withstand the test of time.