Archive for August, 2015


Posted: August 13, 2015 in Uncategorized
How Will the Provocatives Show Up at their Exhibition?


“Guardian Angel of Hetch-Hetchy: One Damn Beautiful Dam’


  • POINT ONE:  The Provocatives Series sits at the heart of our project. Out-sized in execution and theme. Painted up to provoke, to get-talk-going.

  • POINT TWO:  When completed, each Original Oil exhibited in its own show. The viewer enters and is overwhelmed by the sheer presence of the painting and the force of its subject.

  • POINT THREE:  The Exhibition includes auxiliary pieces attached to the painting’s execution or its theme: preparatory drawings and oil sketches, displays & original works which accent and extend the painting’s theme. These are not space filers but exhibits to elicit a wow from the viewer.

  • POINT FOUR:  There are twelve original paintings in the Provocatives Series. All are out-sized. Their themes related and entwined. When series is completed and exhibited together (with its supportive material) the overwhelming wow factor is multiplied. Ideally, each painting commands its own exhibit with its auxiliary works and displays. This combined exhibition pushes the thematic undercurrents forward. The reason why this pictorial project was embarked upon – its near apocalyptic purpose – will become clear

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Painting Titles

[NOTE: See Provocatives PAGE for descriptions and breakdowns of the paintings.]

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ROOM 1: “Guardian Angel of Hetch-Hetchy: One Damn Beautiful Dam”

The inaugural painting and exhibit. Our first “anti” painting. picturing-out the false promise of Environmentalism the Religion with its dogmas, demand for submission, and hunt for heretics. (see below). Unfortunately, Pope Francis has been invited to sit with their tribunal. May God grant him infallible wisdom to walk away.

ROOM 2: “Father Junipero Serra Welcomes the Mi-Wuk Tribe into Heaven”

The Franciscan Missions never made it to the Sierra Foothills. Yet, Junipero Serra would have invited them into Heaven – if they were not already there! The look of this work – what will go into the painting’s composition – will be striking, and a bit surprising. See painting’s description and breakdown.

ROOM 3: “The Triumph of Ronald Reagan”

An out-sized painting trumpeting the achievement of President Reagan: his triumph over the totalitarian state, the upturning of American tax rates – sowing hope sea to sea – and the fall of the Soviet Union.

ROOM 4: “Eve: if Only she had been a Mother”

Would Satan, snaked up in that tree, had his way with her if Eve had time to fulfill her womanly creaturehood: if there truly was opportunity for sex and motherhood in Eden? This out-sized work trumpets a surprising pictorial answer. Is this our “anti” feminist painting? Not.

ROOM 5: “The Mother of Israel and Her Seven Sons on the Temple Mount (God’s Jewish Footprint)”

This work pictures-out the story of II Maccabees, chapter 7. A horrific yet hopeful tale of life trumpeting over death. The out-sized theme of this painting touches upon the universal & historic fact that Israel (the Jews) possess eternal right to Jerusalem and the Temple Mount. Though this story occurred hundreds of years before there was any entity called Palestine, this painting will be provocative for that.

ROOM 6: “The Three Great Repentants: St. Mary of Egypt, St. Moses the Black of Egypt, & Jeffrey Dahmer of Milwaukee.”

Boy, this one will certainly get-talk-going! The Egyptians lived in the 3rd or 4th Centuries. St. Mary was a notorious prostitute, St Moses the Black was a thie and murderer. We know about Jeffrey Dahmer! Need to visit its description and breakdown on the Provocative PAGE to get the drift.

ROOM 7: “The Martyrdom of Father Pro: Men of Mexico Unsheathe Manliness and Slay the Spirit of 1917”

This is a story from Mexico’s Cristo Rey revolt.

Want to solve the immigration problem? Restore Mexico to her true self. Mexico was castrated of her nationhood & manhood by the Marxist Revolution of the early 20th Century. Until Mexico (and all of Central America) rid itself of the residue of the Revolution there will always be an immigration problem. If you wish to tag this as the “anti” immigration painting, go ahead.

ROOM 8: “Archangel Michael Slays the Totalitarian Spirits: Fascism, Leftism, Islamism (The Three Evils)”

Our interpretation of the familiar image of the Archangel spearing the Devil. Here, the scrawny, smarmy body of Che Guevara substitutes for the arch-demon. Che is the stand-in figure for the Left’s Evil Spirit. Will out-sized point of the painting will be a bit disturbing – to evil1

ROOM 9: “She Died on Ruby Ridge (Idaho)”

To get the sense of it, suggest reading the brief the painting’s brief description and the article linked. Tag this not as an “anti” painting but a Constitutional one.

ROOM 10: [Under Wraps] Except to say that this is our commentary on 9/11 and Islam’s jihad..

ROOM 11: [Under Wraps] Except to say that the Slaughtered Innocents will be quite pleased.

ROOM 12: [Under Wraps] Except to say that the Humptey-Dumptey of our Post-Modern Age will have a great fall; The splatter of this egg will fry even on the black robed steps of SCOTUS.

BONUS ROOM: “Martha,Martha”

An out=sized glorious  thank-you to the wife! You (she) will be surprised at its quiet monumental picturing-out. And pleased.

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First, go to the Provocatives PAGE and take the temperature of the painting’s theme and composition. Much there. The linked posts epand the theme. Pope Francis’ ecology encyclical takes a fall. The Guardian Angel of Hetch-Hetchy was not pleased!

The Original Oil is hugely out-sized at 78 117! It overwhelms: not only by its dimensions but more so with the moral imagination of its composition. There’s much there.

When the viewer enters the exhibition room he’s drawn to (should say by!) the Guardian Angel’s commanding presence. At the same time, he is taken the man-made splendor the Angel is standing sentinel to – Hetch-Hetchy’s Damn Beautiful Dam. The look of the Guardian – catching the viewer’s eye – on the ready to step from the frame and slay any marauder who dares to demolish mankind’s man-made splendor. Climate change be damned!

More can be sensed by popping over to the painting’s breakout chart on the Provocatives PAGE. Here, we’re sketching out an impression of its inaugural exhibition.


Exhibition Room:

Rectangular with Original Oil hung on wall opposite of entrance. Room size proportional to the painting’s dimensions, which at nearly 10’ (vertical) makes for a forceful showing. Distance between painting and entrance should not be too great, for as the viewer steps there’s no second guessing of its commanding theme. Its vision is quickly intuited.

The two side walls – which are always a challenge to curate –   Larger pieces are placed nearer to the Original Oil, and, as much as possible, their coloring complementing those of the painting. This draws the room’s sight-lines to the ting. The main draw. Since straight parallel walls are monotonous at best – and can’t be bowed or sledge-hammered in sections – their winged expanse can be broken up by stand alone displays. (See below for what’s hung.)

Original Oil on the Anchor Wall:

Seems as if the Louvre was raised along the Seine for that mysterious of all Greek statues, Winged Victory. Regardless of how one enters the room the statue is perfectly viewed: positioned on her raised platform as if on a ship’s bow; at the correct height, correctly distanced from the wall and ceiling above, the subtle hues of her marble shading into the tones about her. Same with Michelangelo’s David. Standing within its monumental niche – arches and domes bending marbled submission to the statue, a curving parade of piers approaching – the marble David rises into view as if Florence’s Accademia Gallery – and all the city – was built for him, alone.

The same for The Guardian Angel of Hetch-Hetchy: One Damn Beautiful Dam.

Have yet to calibrate the details. The Original Oil commands the anchor wall (it’s tagged “anchor” for securing all the room’s sightlines and themes. Alone. Not so much hung as seated against the wall. Even the hues and lighting played upon the wall add to –shall I say it? – the painting’s near regal sitting. Like the David, much prefer our Guardian Angel – even though being a painting and not a statue – to be set within its own monumental arch, commanding the pull and bend of every line in the room. This takes into account the key doctrine of hanging a picture – it is something that is approached.

We will see.

The Side (Wing) Walls:

The exhibition includes supporting materials: preparatory drawings and oil sketches, and displays augmenting the painting’s theme. Drawings and oil sketches record the several stages of completing the Original Oil. They are, hopefully, works in themselves. The displays touch on the history of building the dam, its place in the greater California Water Project, the near suicidal campaign to dismantle it, and, crucially, the adult recognition that the only viable solution is the doubling – or, better yet, tripling to – California’s reservoir capacity.

[See the breakdown chart on the Provocatives PAGE for samples.]

The right side wall (and displays) used for a selection of drawings and oil sketches. A painting such as this requires multiple testing of point-of-view, composition experiments, and color choices; which fauna & flora from the abundance of the Hetch-Hetchy and Yosemite Valleys; which look says perfect guardian angel, scavenging the visual history of angels for models. What’s put on the wall will tell the story of how the Original Oil was conceived and painted.

The left side wall (and displays) used to highlight & illustrate the painting’s theme: the force of it beyond its execution. This is in the tinkering stage, but will include the building of that Damn Beautiful Dam, the world wonder that is California’s Water Project, and even a strong visual statement about the marauding effort to tear down and scatter. Subtly, comes to an exposure of Environmentalism the Religion. Nothing changes for the good until flays out for all to see the falsity of that. (What’s placed on either side of the entrance door seals that! See below.)

Won’t leave it at that! The left side wall will be crowned with a greater – and more hopeful visual statement: how California will get redemption by tripling its reservoir storage.

The Entrance Wall:

The viewer won’t note it when he enters. It will take walking towards the main event, the painting, and turning around. Something striking, even comical, is exhaling a low whistle.

On either side of the entrance door is a paired diptych. Not as monumental as the Original Oil, but near to; more loosely composed, but with enough serious handling to elicit a smile. Done up, so to speak, as a teasing Daumier or Hogarth – though never cartoonish.

On one side is a frightening visual of California if goose-stepping black-boot Environmentalism is permitted to run amuck: a picture of a haughty Delta Smelt sitting grossly, beastly on his throne with deceived elites offering slaving homage as the State lies in ruins round about.

On the other side, equally monumental, is an image of a sturdy gallows along the banks of the Sacramento. On its crossbeam is a much mangled Delta Smelt hung high and utterly alone while the Peoples of California go about their business flourishing and producing.

This sheer presence of these twined painting, exhibiting the choice of defeat or hope will certainly get-talk-going.

Yet, across the exhibition room, with a twinkle in his fiery, fondling his sentinel sword, is the Guardian Angel of Hetch-Hetchy. He sees all. He knows.