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posted on Oct, 30 2008 @ 06:47 PM
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Once I got that last painting gone to someone who DOES appreciate it (it now hangs in an astronomers home), I got busy doing some more paintings. The first is what I call a mandala. basically a circle divided into two parts. I take it to represent the duality that nature has, either outside of us or inside, much the same as the Yin/Yang symbol.



The next is, once again, a study in pareidolia. I tried, as much as I could, to not attempt in any way to be representative in creating thse random shapes. They just happened. Whatever we may see in such shapes is indicative of our own state of mind.



The last is a portrait of my astronomer friend Ski, done in a style of portraiture loosely similar to that of an acquaintance of mine from the late 60's, Greg Curnoe. My interest in his work has grown over the past few years mainly because of his love for brilliant colour. Sadly, he was killed in a traffic accident while riding his bicycle a few years ago. Who knows how prolific an artist he could have become had he survived.



[edit on 30/10/08 by masqua]




posted on Nov, 8 2008 @ 09:40 AM
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My most recent painting... the maze, one of the world's most ancient symbols. It is the path taken on Glastonbury Tor, encircling the hill in a twisting seven circiuts before reaching the centre at the top. We find this basic design in many places around the globe; Knossos in Crete, the Four Corners USA (Hopi), Mysore and Rajastan in India, Nazca, Peru and even in Finland.

Long considered to be a template for life itself, the path, when walked, takes us from the 'outside' at the bottom to almost at the centre, just as a teenager believes themselves to 'know it all'. As we progress, we find ourselves once again close to the outer edges, spiralling slowly via the longest path until we at last begin to close in on the middle section for the last 3 circuits.

There is relevance here to seven year cycles. Consider each seven years significant as you age and the template unfolds true to life... ages 7, 14, 21, 28, etc., should mean something to most of us(at least it does to me).

Seven circuits @ 49 years of age to reach the centre and attain enough credible wisdom in life to be mature enough to rank as a teacher to others who are on the same path.

That we once again have to travel the path outwards from the centre shows a total of 98 years... a good rounding off of a long life lived.

That we pass on what we learned to those who are still on the 'inward' journey is the duty of those who have already gained knowledge.

What really sticks in my mind on the maze is its ancient roots. There's no doubt that this symbol was one of the first ever created, since it can be found in isolated communities the world over. It was successfully carried in the migrations of people over the course of dozens of millenia.






[edit on 8/11/08 by masqua]



posted on Nov, 28 2008 @ 07:30 AM
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reply to post by masqua
 



hey brother.... just wanted to let you know that Paul Laffoley will be in Toronto from Nov 29th - Jan 4th at the Meta Gallery!!!!!!!!!

I figured if ANYONE would care... it would be you! Hope you're keeping well T.

p



posted on Nov, 28 2008 @ 08:19 AM
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reply to post by masqua
 


What do I think? Let's see. Wow. Totally cool. Really good stuff.

Toothpick style...interesting. To me, it would be tedious beyond belief, but it obviously isn't to you. This really is fantastic stuff, Masqua.



posted on Dec, 1 2008 @ 06:09 AM
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Originally posted by Anonymous ATShey brother.... just wanted to let you know that Paul Laffoley will be in Toronto from Nov 29th - Jan 4th at the Meta Gallery!!!!!!!!!

I figured if ANYONE would care... it would be you! Hope you're keeping well T.

p



Doing well indeed, thanks.

Also, thank you for the 'heads-up' on Paul Lafolley..

His studio looks a lot like mine, don't you think?




posted on Dec, 1 2008 @ 06:18 AM
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reply to post by seagull
 


The toothpick method of painting is only one facet of the procedures that I have developed over the decades. Another would be mixing certain powders/lumpier material into the acrylic to create textures like stucco or bark.

There's a million different ways to make a painting unique.

Would anyone be interested in a detailed, step-by-step account of the creation of a painting? I've been kicking the idea around a bit and would be wlling to photograph each step along the way of creating a portrait, since it IS based primarely on a fixed procedure.



posted on Dec, 13 2008 @ 08:25 AM
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Here are the last 3 portraits I've done Nov/Dec and I'm considering a self-portrait to keep me occupied in the studio until January.

What I do is take several profile pics and choose the one which best conveys the overall personality of the subject. After the photo shoot, I ask him/her what their favourite 3 colours are, ranging from a very dark hue, a middle and then the lightest and brightest

It's those colors which are then used in the paintings.







BTW... the toothpicks were always on my work-bench to mix paints. It was only a matter of time before they wound up being used as an applicator. There's many more methods available to create certain effects; crumpled newspaper, sponges, live snails, Tweety or even mice.




posted on Dec, 20 2008 @ 11:03 AM
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hey masqua

thanks for showing me this thread

wonderful picuters


Originally posted by masqua






i really love this one.
it must have been wonderful to live in this houes. it loos so warm and comfortable


****

i am really impressed that you paint so different types of pictures
this house, the mandalas, Cape Croker Forest, the galaxy project ……
such a huge variety.

for the motorbikes:
they really look like photos! that is awesome masqua


****


the picture of Lake Temagami is one of my favorite.
i have always loved the way the sun is shining through the clouds.



Originally posted by masqua

But, the thing is... I do my best thinking when totally involved in something as tedious as dipping a toothpick in a bit of paint and daubing it a half dozen times on a board.

…snip…

Of all the meditative methods I've tried over the years, this is the best one for me. It's without equal and, in the end, I have something of value to show for my efforts.



not insane at all.
you described wonderfuly what i am experience every day. i am not the kind of meditation type, but while focusing on my creative work like you do on painting, it is not only the best relaxation, it is the best meditation ever.
i get up to higher spehres which will settle me back to ground again. absolutly necessary for staying sane!


the galaxy dot picture is absolutly awesome
i love it
millions of stars are shining down on me


i am very impressed by your work masqua
thanks for showing me



posted on Jan, 3 2009 @ 09:54 AM
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reply to post by orange-light
 


... and thank you for that great post. As you might know, an artist needs continual support or they start to feel useless.


Here's a great video that sums up so much of what the shamanic paintings I've done are all about:

Sam Roberts in Waking the Dead



Lyrics:


miss it when it's long gone
You only hear it when it's our song
These are the echoes of the dreamtime
This is a message from another life
This is a haunting of your own mind
These are the echoes of the dreamtime

You only miss it when it's long gone

I've been waking the dead
I've been leaning on tradition
Trying to make amends
With the dead
Prayer candles that I burn at both ends
Missed opportunities we won't share again
I recognized in the touch of a friend
That I am closer to the place I began
And so far from where I want it to end

You only miss it when it's long gone
You only hear it when it's our song
Keep looking up, 'cause it's a long way down
Keep looking up, 'cause it's a long way down

And now I'm walking with the dead
An apparition trying to get ahead
Bleed some pressure from this hole in my heavy head
And there was high water everywhere
Back teeth are swimming and I wished I cared
My teeth are swimming and I wish that I cared

You only miss it when it's long gone
You only hear it when it's our song
Keep looking up, 'cause it's a long way down
Keep looking up, 'cause it's a long way down

And I feel like making a confession or running for the door
If we could heal a little bit of this broken pride, we might survive

These are the echoes of the dreamtime
This is a message from another life
This is a haunting of your own mind
These are the echoes of the dreamtime

www.icelebz.com...




[edit on 3/1/09 by masqua]



posted on Jan, 10 2009 @ 07:39 AM
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Hey Masqua..

I can't believe that I've missed this for as long as I've been coming here to ATS...

I am so impressed by your work (not to mention envious too)...

You were speaking recently about that there are so many ways to paint (IE: the toothpicks, etc.). I can recall when I was a young teenager visiting my grandmother who painted and I asked if I could try it. Well she didn't have much except two color tubes. But she tells me not to worry that they will be enough, and she proceeded to heat up and melt several boxes of crayons, and we proceeded to paint/draw in partial paint and then with the melted Crayola's. We had to work real quick, and it really was not only fun.. but came out looking really bizarre but in a cool way...

Ever tried Crayons? Lots of textures can be formed with layering them too..

Anyway.. I just had to tell you how wonderful your work is and I'd love to commission you to do a piece for me one day...

Johnny



posted on Jan, 10 2009 @ 09:25 AM
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reply to post by JohnnyAnonymous
 


I work with crayons every time I eat at Jack Astors.
I find the brown paper covering the table, plus the jar of crayons simply irresistable.

Seriously though, it true that two colours can make for great artwork when even just a single hue is enough. As far as mixing melted crayons with paint goes, I say it's an interesting way to go. Texture can be a lot of fun to play with.

The fact is that all anyone ever needs to 'cover all bases' is 4 colours:

Red, Blue, Green and Yellow. From them, by careful mixing, you can get every hue but white and nothing in the world is pure white. Not even snow, because it reflects all the colours around it; the blue sky, the bark of trees, whatever.

A friend liked to water his acrylic paint down to something akin to the consistancy of orange juice and then used a plastic straw to blow the paint around. The results were amazing to see.

Using your imagination and coming up with a method nobody has ever thought of before can get you noticed.

Thanks for posting, Johnny, and, you know, I am doing portraits these days. Here's one I did of Springer:








posted on Feb, 22 2009 @ 06:25 PM
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This is the portrait of William Commanda.

The symbol on the bottom is the Seven Fires prophecy belt. The red 'Y' is the path and choice that humanity has between war and peace and the headband with yellow, red,white and black squares represents the 4 races of mankind unified as one.




posted on Jul, 31 2011 @ 06:00 PM
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Guess it's time to add a few more:

Buffalo Dancer



Max & Friend


One Tree



Oliver Attacks



Flower of Life



Vesica Piscis



Dancers



There's a bunch more, but they're either in a show in stratford, hanging in a live theatre lobby or at a relative's home. I'll take pics as I get around to them and add here.



posted on Jul, 31 2011 @ 06:45 PM
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I'm completely delighted to have stumbled upon this thread today. I've missed it somehow.

You have several different styles. Some very Van Goghesque, others very contemporary. I like them.

One of my favorites, I think, is the house with the dog running towards us. I wish it were hanging in my house.

Please kindly ship it at once.



posted on Jul, 31 2011 @ 07:44 PM
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i like the painting of your trees.. tis lovely...



posted on Jul, 31 2011 @ 08:38 PM
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reply to post by ladyinwaiting
 


Ah... that's one of my earlier paintings of the house we lived in for 25 years. The dog's name was Pepper and a collie/shepherd mix. She was a darling and a constant companion for my kids while they grew up. Pets like that should be photographed or painted for posterity.

As for anyone getting their hands on that small painting, I'm afraid you'd have to wrestle it away from my wife.
She has it hung in the living room and I'm sure would be loathe to part with it.

Thanks for the compliment



posted on Jul, 31 2011 @ 08:39 PM
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reply to post by purplemer
 


You mean The Dancers or one of the earlier paintings posted in the thread?



posted on Jul, 31 2011 @ 08:43 PM
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reply to post by masqua
 

the third picture in the thread. the one in your studio... It is a very simple picture. Maybe you were still working on it, but I like it as is...



posted on Jul, 31 2011 @ 08:52 PM
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reply to post by purplemer
 


That piece is a scene on a rez up on the Bruce Peninsula in Ontario (Cape Croker) where we spent quite a lot of time camping. It's still being worked on a little here and there... more leaves on the trees and dappled sunlight on the rocks and grass.

My intent is to suggest 'sacred ground' where rituals might be be performed.



posted on Jul, 31 2011 @ 09:01 PM
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reply to post by masqua
 


Well it does look like a magical place....





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