Showing posts with label acrylic painting. Show all posts
Showing posts with label acrylic painting. Show all posts

Thursday, July 18, 2013

Mr. BingoRage comes to town.

-
Early Summer. BingoRage Studio is moved to town for the season, hosted at #StudioChezZzorhn (Fort Frances).

We have been focused on 3-dimensional work for a couple months, but we are shifting towards painting again.
Z. and I are not bound by schedule, etc. but ebb and flow in interest and exploration.



#KingVase03 (L) and #KingVase02 (R) in papier-mache, demonstrating interim changes to clay model in the paper casts.



#KingVase01 (L) and #KingVase02 (R)

The #ZzorhnAndBingoRage show set up our table at the 2013 #EmoWalleyeClassic to show off our wares, demonstrate our skills and entertain fishing-orphans and other wandering rugrats for an afternoon. It was quite an impressive setup (read: pain in the ass to set-up), showcasing works in "papier mache" (paper), bronze, antler, clay, acrylic paint and canvas. We did not generate any sales from that venue, but got a chance to get some feedback from a potential target audience; NW Ontario fishing groupies and beergarden glitterati.







Saturday, May 12, 2012

Spinnerbait and "The Mob Mentality"

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Photos click for larger size detail.

Will be updating with Facebook comment extension shortly, please check back in half an hour.
19:45pm CST

Now updated with Facebook commentary.

21:47 pm, CST. 

21:52 pm , CST. Edited to get rid of spammy-looking art sale, sorry. 
20:23 pm CST, May 13, 2012 Blogpost abstract, edited from FB comment thread:

     This is the summary of an essay that arose from FB commentary thread re: a proposed ten year jail term for wearing "masks" at Canadian protests, posted at the end of this blogpost. Please check out the pics and vid below and Pls tweet, stumble, FB, etc. Thanks
        Puppet and mask street theatre is a court-recognised and historically significant artform and way of having a public voice, outside of socially-mandated "channels of communication". The proposed "ban on masks" can and will be abused to interfere-with and legitimise the abuse of puppet and mask troupes. I know it's not part of your daily reality, but these are great people and great artists working for you. In order to preserve it, it is necessary to acknowledge that public art is legitimate way to lobby our shared society, our shared mindspace as well as our  political system. To agree that we are engaged in real conversation, to try to find areas of agreement. I am lobbying the room to agree that masks and/or the wearing of masks at our protests should NOT BE BANNED in Canada AND AFFIRM that public mask/mask-type/puppet theatre is a legitimate means of public expression. Considered responses only, please.
PS: They want to put people in jail for ten years (10), for "wearing a mask" at a protest.
You are not endorsing a spanking, with your unthinking assent.

04:01 am, CST. May 14, 2012. Sent my MP an open letter.
 Mr. John Rafferty, MP;

     I don't know if you have heard this argument against the proposed mask ban and imprisonment legislation: It would begin to exclude or at least punish the puppet and mask street theatre techniques which are successful tool s to attract attention to the message of a protest. The proposed 10 year ban on "wearing of masks" could be abused as the blunt instrument and threat of official suppression of free speech. A "grey area" with exceptions to the rule would only leave wiggle room for prosecutors and riot police to arrest and prosecute first, then sort later.

Thank you, for your consideration.

Sincerely,
:Eric C. Keast

:Eric




This is a new painting, on an old canvas.
It's called SpinnerBait;
A "Colorado spinner"-type lure , permanently attached to a single-hooked
jighead, with rubber skirt.

It is designed to provide plenty of action at slow retrieve,
allowing the caster to plumb holes and structure.

The wire, swivel, rings and spinner-blade of this lure -without a lure, but with a snap- can be obtained at your local tackle shop. I've always called them colorado spinners, they come in a variety of colours but I like the metallic flavours and they can be attached to a wide variety of lures, other than "jigs".

There are some robust, heavy-gauge wire varieties of the spinnerbait, produced for freshwater musky and saltwater use, with large, heavy, multiple spinner-blades and interchangeable large-body rubber baits.

-----------------------------

Here is a recent clip from the Zzorhn And BingoRage episode, "The Privacy Apocalypse"

BingoRage Filthy Puppet Theatre

presents:

"1984 - deleted scenes (as reenacted by sock puppets {live})"
[The action starts about 03:12, but give the start a whirl.]

written by Eric C. Keast
produced by : Zzorhn



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The latest Zzorhn And BingoRage show (Season 02, Episode 17),
The Mob Mentality Apocalypse (link to Ustream.tv)
is in the metaphorical can. Episode notes, are as follows:
We are late. Our bandwidth problems. Video quality gets better two minutes in.

Intros. Penguins and polar bears do not fight. Feed back. (Eric has first breakdown at 8:00; does not want new show member, will consider a “hot intern”.) Zzorhn pimps his FB chatroom page. Eric warns against inviting the internet into your back yard.
Stealing blues songs is bad. Eric is angry. This is a comedy podcast.

Skit, re: Montreal taxi driver hit and run. Eric wears a suit, get corporated by Zzorhn. (18:20) I object. Horse puckey. Hello DanniPants 24:51. Watch Montreal taxi driver hit and run after Zzorhn vamps in blue. Eric says the tax driver abused an imbalance of power and is therefore in the wrong. Eric then tries to make the point that our government and corporations are increasingly abusing the imbalance of powers in society?
We want to see the missing video of previous time; how much is missing? Eric drops knowledge about Canadian news and P.Q. Student riots as backdrop to this story.

Art review: Papier-mache rattle and puppet. 50:25. Describe papier-mache process with foam and clay model, transfer to handle for "functional sculpture"; war club theme.
The internet is built for cats, 52:04. What a good JohnnyCat.

53:45 Pack mentality. Safety in numbers, power in numbers. Our fractal metaphors don't surprise me. We like to think we have free will. Everybody likes dogs; even if they have sexual needs and Eric's bestiality fear. Eric realises that Zzorhn is full of pooh. Again. Zzorhn implies that we are all in danger of succumbing to our animal nature, our pack nature; when exposed to a “mob”. Sathyrhana "Satyagraha" 1:03:00; Zzorhn is happy that I made a certain distinction. Eric says that the Internet is the veil drawn over your eyes and police risk dehumanising themselves by “alienisation”. The black bloc are agents provocateurs and a danger to peaceful protest.

1960's psychological experiments regarding imbalance of power, social behaviours beyond our control and the appeal of creeping fascism. Stanley Milgram, the Stanford Prison Experiment, The Third Wave . The" third wave" experiment is not well-documented, but seems to suggest that their is a leaning towards fascism, in our deeper pack mentality.

BingoRage Filthy Puppet Theatre (1: 17:00). Excuse me. 1:19:30 The Milgram experiment (as enacted by sock puppets). 1:23:50


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This canvas has a divot, created by long storage against a pointy thing. The fabric may rebound a little, but the dimensionality has been set in an acrylic matrix.





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Facebook comment update from May 12, 2012. 
21:15 'ish pm, CST.

- (Okay; just had to interrupt the update to check out ruckus, at the window. My big old round cat, the brave Johnnycat, is sitting in the window and two ravens are sitting in the branch immediately outside the big panes, discussing how to dissect and share him. Johnny seems to love the attention. What a brave Johnny.)

Fellow forum members; please do not mistake my previous points as an endorsement of violence.

I am a staunch believer in the rights of "free speech" for all, "freedom from violence and threat of violence" for all and "freedom to have a voice in the affairs of my society" for all, which -for myself, yourself and others- is mostly limited to our shared pool of armchair political speech, by reasons of health, calendars and/or location. Other people who have access to city populations and seats of government can lobby the actual physical persons whom represent us, or wish to "manufacture our consent" (Noam Chomsky), in person. Their bodies , their rights and their privacy are being broken and battered for us, a significant portion of the population (Perhaps for you at times and in the interests of my intellectual foes, occasionally.). They represent me, because they are brave for me, for us and even for you, occasionally.

What, then does this have to do with the wearing of a mask? Why would a person wear a mask? There are only two polar answers, you cannot deny one or the other:
a) Because they are a criminal, or have “done something wrong” and wish to escape punishment.
OR
b) There actions were legitimate and they wish to preserve their privacy for legitimate reasons, and wish to escape punishment.

If you say there are no legitimate reasons to preserve your privacy and the wearing of masks at protest is a criminal act, then you are endorsing punishment for what you consider “immoral beliefs and/or actions”, not a crime against person or property. These are fear-based reactions accessed by your consciousness when you perceive someone else as an “other”, not an intellectual judgement. This is the animal response system that propaganda, advertising, political media messages, canned news, press releases and the emerging “arena-politics” play with.
 Zzorhn speaks to the pack mentality in our most recent show ("Mob Mentality" link above).

I can prove that there is at least one legitimate reason to wear a mask to a protest. Without a doubt and beyond contravention. (Unless, of course, you are just a mindless troll for your set beliefs{ERIC; Cite particular meaning “reactionary, provoking online behaviour”}, hijacked by some malevolent, reactionary memeplex that you are not aware of, yet.)

If the protestors are using theatre and artistic tools to tell their story and voice their position, such as puppet and mask presentations, then these are legitimate, timeless means of public media, public voice. Please, let us not get into the game of creating exceptions to an atrocious rule (that only gives police and prosecutors a "grey area" to arrest people in); please just admit that there is a legitimate reason to wear a mask to a protest.

If it is your contention that this is not a legitimate means of public expression, then you really may be irrelevent and have to reevaluate what it means to be human, for yourself. You are without art, or in denial extremis: going insane with the contradictions that you are allowing to fire around the inside of your head.



When you see a gathering of people labeled as a “violent protest” -regardless of your political stance, economic stance, religious stance, urban vs. Rural stance, right/left position, etc.- You, I and everyone else should be held accountable to recognise there are many social systems in place to label and shape how you perceive that event. That doesn't mean that everything is a lie; don't live in fear, live in ongoing evaluation. Look at different sources and actually read the arguments.

You have to acknowledge, not that you are wrong, but that you may not be correct, this time.

No one person is ever right all the time and you should be suspicious, when the media and social sources you choose to believe, echo what you think is right.

Most people in the past chose not to dig too deeply into the “official story” of events in our society because it was a hard thing to do, and dangerous, as the bodies of murdered journalists around the world and the beating and imprisonment of media in our own countries would attest to. However, nowadays, we have access to more information, as an increasingly participatory audience, that was supposed to be hidden from us by distance and official silences and denials. Or sources are augmented by the spread of cameras, phones and connectivity; the evolving “participatory panopticon” (Jamis Cascio) that we are embedded-in and growing. It is becoming a powerful tool to criticise the behemoth of government with accessible, proveable numbers, photos, video, scientific research... real evidence that is increasingly sourced and produced in a non-university, non-corporate, non-governmental, non-NGO fashion. It is open-sourced, crowd-sourced grassroots that is in increasing danger of suppression.

I speak about the erosion of free speech so much, because it really is on the rise. When I was growing up, my generation X and the previous generation of Baby Boomers (now in power, a huge segment of the population) grew up in fear of the official enemy of North America (Yes, Canada, too, was frightened). They were the bad guys, because they were a torturing, totalitarian state and closed market, where free speech, free movement and economic innovation was not allowed. We, were the champions of life, liberty, freedom from torture and “cruel and unusual punishment”, good governance and free markets. Well, we beat the Soviet Union and now we are embracing and endorsing an emerging, creeping totalitarianism, that is already endorsing the tactics of oppression and suppression that once were accusations leveled at the “thuggish KGB”.

When we allow the nonstop, persistent erosion of civil rights on the ground and in the evolving online fora, we are endorsing the punishment of legitimate criticism. Sure, that means that bad actions will still occur, but that is what our legal system and prison system is for..

the punishment of bad actions,
not the punishment of the desire to preserve our rights, our privacy.

A mask is speech; it says that "you frighten me and I do not want you to find me", for good reason or ill.

Saying that a person is not allowed to protect themselves from official violence means that you endorse the official punishment of people you disagree with. Therein lies the road to fascism. It is subtle and seductive to say: "violence is wrong, unless it is used against someone with whom I do not agree, even if they are right".

There is an Indian word, "Satyagraha", which means "insistence on truth". It has spiritual interpretations, of course, but I like the real world insistence on the truth, a "reality-based" world, where evidence has primacy over "gut reactions". It means that humanity should base its decisions on the realities of the world, not the "just-so" stories about the environment, the afterlife, evolutionary science and "dirty, violent protestors" that we share with people that think like us.

I do not fear the increasing surveillance that we are all subject to, as long as it is evenly distributed. When all politicians, corporate executives, policemen and bureaucrats -you and I, as well- are subject to the same level of scrutiny as everyone else and our free speech is truly protected, then all corruption, unnecessary violence and stealing would disappear, theoretically.

But, if the people in charge use the surveillance state only on "us, the population" (yes, you too),  if the elite/aristocracy/police/oligarchs/politicians/whomever can “switch it off"  ala 1984 (G. Orwell) and operate criminally without fear of legitimate consequence, then the corruption and insanity of contradictions above us is insulated from change. Allowing the erosion of rights for some, endorses the erosion of all your rights.

This comment started out as a response to a previous posting, but I would now like to announce an initiative for the forum: Could we as a loose, rather random group of folks with widely varying views actually work together to create shared public documents, manifestos that are sets of shared agreement on how to fix the world, or at least little parts of it, a little at a time. I propose the hashtag #ZBGmanifesto to tag future proposal/discusion on the Bar and Grill page.

If you have stayed with me, so far, then "Bravo."

Have I spoken to the rationale within you and convinced you that the wearing of masks to a protest should not be illegal?


The short version of my blogpost: Puppet and mask street theatre is a court-recognised and historically significant artform and way of having a public voice, outside of socially-mandated "channels of communication". The "ban on masks" will be abused to interfere with and legitimise the abuse of puppet and mask troupes. I know it's not part of your daily reality, but these are great people and great artists working for you. In order to preserve it, it is necessary to acknowledge that public art is legitimate way to lobby our shared society, our shared mindspace as welll as our political system. To agree that we are engaged in real conversation, to try to find areas of agreement. I am lobbying the room to agree that masks and/or the wearing of masks at our protests should NOT BE BANNED in Canada AND AFFIRM that public mask/mask-type/puppet theatre is a legitimate means of public expression. Considered responses only, please.


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Eric, in front of the "Northwestern Ontario Warrior Walleye, Not A Fucking Zander" canvas.


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Monday, March 19, 2012

What's with all the frakkin' apocolypti?


Updated: March 21, early in the a.m.
The canvas in the accompanying photos
to this posting is called
"Grief And Beyond"
It was begun after I received word about the
death of a friend's mother, recently.
My friend Z, lost his grandmother this winter
and my own mum passed, a little while ago.

The main character in the composition is "the survivor". The antlers are representative of "acquired knowledge or wisdom", in shamanic pictography, worldwide.

The main action in the background is the allegorical crossing of the Styx and an imagining of the transition from flesh and information to mystery.

I'll post the video about this piece, shortly.
:Eric

---

"What's With All The Frakkin' Apocalypti?"

- That may be the question that you are asking yourself if you've been following my newest endeavour: The Zzorhn And BingoRage Show. An atavistic, yet intellectual, cultural review. Certainly, there are moments of quiet desperation, near-crying and sulky bitchiness...
but shit gets real, occasionally.

The title refers to this season's overarching goal: Staring down the Mayan Apocalypse, millenialism, armageddon-seekers, fear-mongers and the impending panopticon.

It started out as a comedy podcast, but is hardly ever funny; not that there aren't moments of humour amidst the pathos. We are the embodiment of "a little knowledge being dangerous" in a world where authority is being leveraged to make us stupid, reproductively overzealous, poor and docile.

"dangerous"? To whom? Certainly not to our neighbours, friends and family; our whole community. No. "Speaking Out" is a danger to the powers-that-be, whom are civically and morally obligated to oppress us.

So, we are exploring the ideas of apocalypse, cultural and imperial collapse, armageddons, existential threat and popular media.

That's what I've been up to. That and painting... and a little sculpture... and some #AggroDemocraticoDocumentarianism. I have been promising Zzorhn and our "viewership" that I would start publishing more videos. I must apologise; I feel that I have some sort of mental block that is preventing me from publishing what is already essentially done. A ridiculous inability to finish punching a few more buttons and make a few more decisions.

Tonight; I remedy this, with Media Trap. This piece was painted to accompany a previous "Zzorhn And BingoRage" episode: "Media and the Technological Apocalypse".




During our most recent show, we spoke about Mel Gibson's "Apocalypto" and "Fight Club" as our relevant movies. This is my review...

[Spoilers ahead.]
Apocalypto; A review of the 1996 film as history and metaphor, keeping in mind who made it.
Eric C. Keast, March 07, 2012

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Mel Gibson’s epic film, Apocalypto, starts out as an Anthropological tour of pre-Columbian tribes of Central America. There is hunting, sex and humour in village life, but a hint of darkness is creeping into their jungle, pushing refugees before it.

The main character, Jaguar Paw, wakes from a prophetic dream, warning him to flee, but it is already too late. Empire comes to ravage his village and enslave his extended family; it is all that he can do to save his wife and child, before capture. Thus begins the march to the top of the world.

As they approach the outskirts of the Mayan city-state, they skirt the edge of a tremendous clearcut stretching to the horizon; the jungle is being mowed back, one tree at a time.


It is at this point that the film’s universe turns.

The city’s newest slave acquisitions are marched past a strange sight beside the road; a crying girl standing over a fallen body... a woman. They are both covered in some terrible growths. The returning captors beat her back in disgust, when her cries for pity are rebuffed. She carries “the sickness”, which the captors know enough of... to fear.

All the fear leave the child’s character and is replaced by judgement. The child becomes an angel of doom and pronounces her judgement on the empire. The implication is that the child represents some sort of divine intervention.

But from whom? Quezalcoatl? Jaguar? Nope...

It’s Mel Gibson... in allegorical representation. We have left the anthropological reconstruction behind and have entered a story-space of cultural propaganda. The girl represents a physical wave of biological destruction that spread out in fron of the first Europeans and their new religion. Her appearance as an angel, bringing divine judgement is lacking a line: “There is a new god in town and he’s about to start kicking ass... Yay, Christianity!!”

Now, just wait... don’t get all knee-jerky, just yet. Just because Mel is a little right of the current pope in Catholic matters doesn’t mean that this is a bad movie. I think that it is a great movie and a great representation of a cultural era that it is hard for us to fully conceive of, as modern “western” viewers.


But as a rural-Canadian, obvious leftwing-artist-type and Ahnishnahbeh; I have to say that the movie should not be seen without considering it as a cultural object, with implications in its imagery. All cultural objects have an agenda, either constructed and/or acquired.

The captors lead the jungle-dwellers through various layers of the city, which has extended its feeding of wood, stone and blood outward, like the tentacles of an organism.

The film’s delicious visuals of mass human labour and epic civil endeavour resonates with the imagery of Dante and Hieronumus Bosch. The bound captives are being guided through the various layers of hell. They pass a column of slaves cutting and chewing up rocks for the city; varying in size from pyramid block to plaster dust. They pass through layers of charcoal-makers (fire), madness, sickness, poverty, failed agriculture, starvation.

As they enter the city, the central market is abuzz with activity and produce. Although the countryside is failing and the vast population of the culture is slowly being deprived of their lives, things seem to be just fine inside the city.

It is at this point that new “castes” of people are introduced, the “elite”. They sit around the city, laughing and carefree. Some are carried about the city. Others participate in its important religious duties. There are priestess and musicians working double time; singing and preparing the ongoing ceremonies.

Husband are separated from wife and child. The men continue the march to die; the others to be sold or discarded.

The raucus machine of death continues in an orderly fashion. The sacrifices are painted a special blue and marched past a beautiful painting of their impending doom, explaining the procedure. It is kind of like a boilerplate sacrifice-contract that you ink with your passing. Nice touch.

Then. It is up the ramp... to the top of the world.


The death that the head-priest and the King’s family have in wait for you at the top of this Mayan city-state really, really sucks. I’ll save that and the ending for yous that haven’t seen it yet. I want to talk about cynicism and history, now.

The obvious questions in your mind at this point in the movie should be “Why the fuck is this happening?” and “What the fuck?!!!!” You should be ANGRY, or at least feeling a little bit ill by this point. If you have no empathy or sympathy with the jungle people about to die or live in slavery for the rest of their lives, you really should. They are you. Let me explain.

---

The sacrificial lambs may not be all of you, but they are most of you. Most of us. They are the victims of a social machine evolved from spare parts of resource extraction, resource management, history and myth, labour shortage, technology, power and religion.

They are the victims of a cynical ploy by the super-elite class to buy some more time and power atop the apocryphal “heap” of the regional power system. Using their society’s intellectual and scientific resources, they time the tightly-managed harvest and murder of their neighbouring societies to coincide with a solar eclipse and “prove” their rights to rule as successful petitioners of the gods and their right to skim the very best off the top of their society as directors of its economy.

Now the question that would never be asked at the top of that pyramid is : “Is it OK for us to pretend that ours is an unquestionable path, even though everything is a lie and we live by the suffering of millions below us?”

The implication of the story is that the ceremonies are now over, because of the eclipse. It is not certain how long this bloodshed has been going on, but a later scene indicates that there are hundreds if not thousands of victims.

The gruesome imageries depicted in the movie are probably good representation of events that actually occurred at different times in the Mayan empire, perhaps at every significant astronomical event. It is not known to me if those types of mass sacrifice were still going on during the earliest contact period with Europeans. The height of the Mayan empire had already passed by that time, fragmenting into smaller city-states. The Mayans, of course, still walk among us.

The last portion of the movie completes the arc of Jaguar Paw and lands the judgement of the plague-angel's prophecy.



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Monday, December 19, 2011

The Old Sea Captain Vs. The Ancestral Jay

-- Click most pics for larger view.


I had said that this painting reminded me of an Ojibway archetype; an essential battle, a terrifying synergy between water and sky on a big lake or other substantial expanse of water. The mythological imagery that leaps to mind is the purported enmity between the Thunderbirds and Mizhepezhou.

In this canvas, the water role is played by the "Old Sea Captain"; A bushy-lookin', clay-pipe chompin', twisted and dehumanised Davy Jones mutey (mutant, not speechless).

He is spewing/projecting some offensive force that penetrates and defeats "The Ancestral Jay", a now-extinct corvid of dubious anatomy.

Part 1



Part 2




After stretching and fixing the canvas onto the boxframe, I mixed various blues, green and white to make a turqoisey colour for the background. Using the handle of my paintbrush, I "scratched" a quick sketch into the wet paint.




Honestly; the canvas didn't look like much after first paint. The scratch lines were traced with grays and whites, dull sage greens. When I started throwing paint at the hair, it began to change.




Adding black, hard lines to the Sea Captain turned it from a full profile to a partially straight-on face. Dripping paint reinforced the throat lines of the bird.



Introducing the pipe nearly obliterated the jaw, which had been defined with thick, hard, dark lines. It reaches far into "our" space; the bowl becoming the foremost foreground.




a


Detail pics of the Old Sea Captain and The Ancestral Jay, before the solid, tube-squeezed lines and dots of the final changes.

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Joe Rogan, discussing #OWS on his great podcast.


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Monday, January 10, 2011

Eric, in the BingoRage Studio; with the H+ canvas [formerly "TREE canvas"]

-

I just looked at my archives;
it seems that I haven't blogged this painting before(!!!).
I thought that I had... apparently, I started to,
then never got around to finishing and publishing.
Typical.
Video, from Spring 2010, after the pics.
Thumbnails click to enlarge on separate page.

"H+" January 10, 2011.
The raptor is not a dinosaur. Everything in the painting is a human, in deep future.
Canvas:7 feet wide and 4 feet high; 4 inches deep.
Click for XL photo.
broken vulture art,BingoRage,acrylic painting,native art,Ojibway,studio

Initial sketch.
H+,TREE canvas,BingoRage,Broken Vulture Art, Eric C. Keast

Canvas build; December 2009.


stretching canvas








Artist (Eric C. Keast) and the work. Jan.11, 2011.


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The video chronicles early work on this piece.
Music by Trip Wamsley, at Magnatune Records.


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Keth Olbermann commenting on the Arizona assassination attempt and the media/political response.

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Saturday, January 08, 2011

"Chinaski of Red Lake; Winter of 1989" update.

-

This piece has been around for a couple years,
check out previous post. This video documents the earlier progress of work.



January 8, 2011.
Chinaski,acrylic painting,canvas,red lake,northwestern ontario

January 7
chinaski of red lake,acrylic painting,broken vulture art,bingorage

Jan6
chinaski of red lake,acrylic painting,broken vulture art,bingorage

Mid-December 2010
chinaski of red lake,acrylic painting,broken vulture art,bingorage

Jan7; hand and drink detail
chinaski of red lake,acrylic painting,broken vulture art,bingorage

Jan7; Chinaski detail.
You can see by these detail pics that the fabric, upon which this piece is painted, is extremely coarse.
chinaski of red lake,acrylic painting,broken vulture art,bingorage


Chinaski,acrylic painting,canvas,red lake,northwestern ontario

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Friday, January 07, 2011

updated "Interdimensional Mallard ..." New vid - Jan7/2011

-

Interdimensional Mallard and the Mystical Piranha-Crappie-Halibut Hybrid
Now asking 4700. Continental North America. International inquiries email for shipping quote.
Sponsorship piece; proceeds split between Spirit Fire Park and Broken Vulture Art.



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Current Incarnation

interdimensional mallard,acrylic painting,broken vulture art,bingorage,native art,ojibway

January 4,2010

Photobucket

human character

interdimensional mallard,acrylic painting,broken vulture art,bingorage,native art,ojibway

Interdimensional Mallard

interdimensional mallard,acrylic painting,broken vulture art,bingorage,native art,ojibway

fish element

interdimensional mallard,acrylic painting,broken vulture art,bingorage,native art,ojibway

eye detail

interdimensional mallard,acrylic painting,broken vulture art,bingorage,native art,ojibway

worm detail

interdimensional mallard,acrylic painting,broken vulture art,bingorage,native art,ojibway

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Monday, January 25, 2010

Chinaski of Red Lake, Ontario; Winter, 1989.

Creative Commons License

These works by Eric Keast, are licensed under a
Creative Commons Attribution-Noncommercial-Share Alike 2.5 Canada License.
Let me explain my Creative Commons license, as it applies to my words, ideas, static images, audio or video, etcetera:
* All non-commercial use allowed, with "Broken Vulture Art" attribution and
"BingoRage.com" citation, for free.
* Don’t be a dink, use the link. {BingoRage}.
* Responsible Commercial use allowed, with "Broken Vulture Art" attribution
and "BingoRage.com" attribution, even if you do not want to pay for it. Just attribute source.
If you can, send me an honest cut or contribution.
* Let me know where I can view use, so I can expand my empire.
:Eric C. Keast
:Broken Vulture Art

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Greetings Bingo Ragers;

I have been absent, lately. My apologies. A new story, follows, below the fold: Chinaski of Red Lake; Winter 1989. It is accompanied by photo documentation and video of the evolution of the most recent painting (Acrylic on fabric), also entitled: Chinaski of Red Lake; Winter, 1989.



But first, some notes in the blogpost: Current Canadian political weather, the Avatar experience and the source of the Chinaski name reference.

Please click "Read More" for full post, from index page.




Wednesday, September 30, 2009

CutFoot Dances On

"Cut Foot Dances With A Beast"
- continued

CutFoot Dances With A Beast. Acrylic painting. Broken Vulture Art. BingoRage.

CutFoot Dances With A Beast. Acrylic painting. Broken Vulture Art. BingoRage.

CutFoot Dances With A Beast. Acrylic painting. Broken Vulture Art. BingoRage.

CutFoot Dances With A Beast. Acrylic painting. Broken Vulture Art. BingoRage.

CutFoot Dances With A Beast. Acrylic painting. Broken Vulture Art. BingoRage.

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The old fire watch tower has been removed from its concrete pad at Pither's Point Park. This would make a great site for a sculptural installation; dontcha think?

Pither's Point Park. Tower removed. Broken Vulture Art. BingoRage.

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Another Native blog. This one belongs to CBC Manitoba reporter, Waubgeshig Rice.

My Bud, Ryan McMahon has been plenty busy. He's trying to get a sitcom, shot locally.
"... McMahon felt his proposed sitcom, currently with the working title, “Don’t Call Me Chief,” is something that could replace “Trailer Park Boys” on the Showcase network since that series will be going off the air.
“What we’re saying is that we got the thing,” he remarked. “It’s Canadian, it’s funny, it’s from an aboriginal perspective. But anybody in Canada can relate to these things, especially in a small town.
“For example, the idea of going to get groceries at the bait and tackle shop because that’s what some people do.”
McMahon even has some well-known actors associated with the project so far, such as Scott Thompson from “Kids in the Hall,” who would play the mayor of the small town..."


First Nation artist carves special healing pole.

Cool beaded hand sculptural project.

Check out the great photography of Nadya Kwandibens, from up in my neck of the woods.

Interesting artwork, Northwest coast designs, custom applied to new shoes. 8'th Generation.

Call for submission: 4-minute films about Native American Veterans. For NMAI, Smithsonian. October 18, '09, deadline.

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