Showing posts with label Chris De Dier. Show all posts
Showing posts with label Chris De Dier. Show all posts

Thursday, November 11, 2010

Who Needs Heaven?

“If a man needs a religion to conduct himself properly in this world, it is a sign that he has either a limited mind or a corrupt heart.” Ninon de l'Enclos (1620 - 1705)

This concise perspective leaves a lot uncovered about the problem of sordid human character finding refuge behind religion, but certainly continues to firmly hold its clear value to this day.

Below is a study for a painting that I am currently working on. It depicts the Holy Spirit who, after centuries of solitude in an empty Heaven, has finally committed sin, thus succumbing to the unattainable rigors of His own rules for allowance into Heaven. By doing so His white plumage turned a dark color and He is now abandoning Heaven just in time before digital obliteration prevents escape.



Out Of Heaven   mixed media and collage on paper   13" X 24"   Chris De Dier

Out Of Heaven - detail

Tuesday, November 9, 2010

The Creation

The left side of this work illustrates the the creation of death by the Wholy Spirit God.

     In the beginning, God created Heaven and Earth.
     The Earth was rugged and covered in darkness.
     And the Wholy Spirit of God hovered in the dark,
     And God said: "Let there be Death"; and with that, death was created.
     And God saw the death, and was pleased with it.

The right side is an interpretation of digital fragmentation of such information. Different components and impulses leading to the formation of a story, passed on by generation after generation, until finally written down and accepted as "truth". But in actuality it is nothing but a belief of what may happen or what it could look like. Both are man-made and take on a life of their own. They are ideas that are translated into words, then translated into images, then translated into digital pixels.It does not matter what it is because it only matters what we believe it is.



The Creation   mixed media and collage on paper   10.5" X 32"   Chris De Dier


The Creation detail


Wednesday, November 3, 2010

The Pattern

The expression "weaving a story" was totally unknown to me until about five years ago when I heard it used for the first time. I still think it is peculiar, but it serves my current artistic direction perfectly.
The Bible, being a collection of stories - and considering stories are woven - I use weaving patterns as the grid on which this series of work is founded.
The second layer in this collage represents fragmentations caused by the differing and contradicting interpretations of these stories by varied factions. They are scattered, broken up and in random order because they fail to make sense in the natural order of logic reasoning that is based on scientific fact. The robotic figure represents mankind, the human-centric dogma of the Christian faith and the entire theory of Intelligent Design.
 
 

The Fragmentation Of Intelligent Design II mixed media collage 22" X 30" Chris De Dier


The Fragmentation Of Intelligent Design III mixed media collage 22" X 30" Chris De Dier

Monday, September 13, 2010

Intelligent Design

When the concept of an idea takes on its own direction during the execution and creates an entirely different result, it’s a most satisfying development to me. For weeks I had been thinking about how best to transform a small mixed media painting into larger dimensions by adding a meaningful counterbalance of some sort, in an attempt to elevate an otherwise reasonable image into a more substantial art project. When the idea finally had developed in my mind, and I started tracing it out on paper, it turned into a self-contained work that is still relevant to the series of works that I am creating lately, yet in an entirely different movement of design.

This work represents the origin of the controversial concept of “Intelligent Design”. Whatever opinion one holds about it, this is the representation of how it started…. scattered impulses start to form structured unity. The relationship between the pieces is not clear yet and still disorganized, a ramble of incoherent transmitters. But there is the idea of the human creature forming. The viewer decides whether it continues to develop into belief or crumbles into rejected abandonment.

The human prototype that I used is a bone-setting mannequin, believed to be invented by Hieronymus Fabricius (1537-1619), Italy’s foremost surgeon in the late 16th Century who devised operations for tying arteries and correcting spinal deformities.


The Fragmentation Of Intelligent Design I mixed media collage 22" X 30" Chris De Dier
available from the artist. call for pricing. http://www.chrisdedier.com/

Wednesday, September 1, 2010

Holy Cow

The need of the primitive mind for supernatural help, support, guidance, etc. has fuelled human creativity throughout history and is one of the richest and most ancient sources for anthropological studies. Different cultures came up with their own individual interpretations about the origin and destiny of the Universe and of humankind. Even today, scientists have not assembled all the pieces of the puzzle yet, although with the help of phenomenal advances in technology during the last decades, they’re getting closer to a logical theory that is based on fact rather than fantasy. Where will that leave the Gods? Will there still be a place for them in our cultures? Will they still have any influence over our cultures? And how will changing beliefs shape the creative expressions of artists when those times arrive?
As this series of current artworks further develops, I suddenly realize how deep contemporary culture is ingrained in my/our way of thinking and how difficult it can be to break through the boundaries that limit our perceptions. In religious iconography for example, to stay within the subject: looking at depictions of Aztec or Mayan Gods, it takes an effort to understand the visual information that they provide. What we nowadays experience as alien, was accepted as very normal and clear to the people of that culture. How does one transfer the mind seeing the world as they did? Is it even possible?



Devine Bovine   mixed media on paper   9" X 8"   Chris De Dier
availabale from the artist. call for pricing. http://www.chrisdedier.com/

Monday, August 23, 2010

Mortal Idol

This painting started with a laurel crown made of gold, displayed at the Metropolitan Museum in NYC. It probably was worn by a Roman Emperor with the title of Augustus meaning the elevated or divine one, somewhat less than a god but approaching divinity. It's a step lower than what was bestowed on Egyptian rulers, but I would be plenty happy with it already. Nevertheless, each direct descendant of a God that came to rule and/or convert the Earth, died just the same as all other ordinary creatures, no exceptions. What happened there?
As such, I placed a stylized adaptation of that beautiful and finely crafted laurel crown on a human skull, between the inscriptions God Is Dead, and There Is No God, loosely derived from the traditional British procalamation: The King is dead. Long live the King (which actually originated in France in 1422). The black background and crossed bones can be interpreted as symbolizing the collapse of a rich civilisation, freefalling into the Dark Ages; as a warning of the increasing fragility of our current lifestyles. There you have it.


God Is Dead   mixed media   10" X 8"   Chris De Dier
available from the artist. call for pricing. http://www.chrisdedier.com/

Tuesday, August 17, 2010

Bovine God

Popular belief - voluntary or enforced - decides the faith in and of individual gods. Through the ages, they've come and gone like so many human celebrities, albeit with a longer lifespan. Their religions share similar characteristics with languages in how they evolve, merge, split into different factions, adopt alien influences, eventually disappear into forgotten meaning and importance, etc.
Religious iconography is distinctively interesting and often quite creative. Ancient cultures in particular had fun with it. It has become a rather stagnant art in our time.
I have used imagery of such artifacts in some of my work, not in an attempt to make any particular statement, but to use the same creative origin in different variations. Bovine deities have held important positions in different cultures. Here is my own version of one... a divine decapitated bull's head hovers in a starred golden sky, bleeding liquid gold, filling a calm ocean below, thus creating a new world... as good as any other story.


On The First Night God Bled Gold   mixed media on paper   10" X 8"   Chris De Dier
available from the artist. call for pricing. http://www.chrisdedier.com/

Friday, August 13, 2010

A Different View On A View

Same subject and basically same composition as the smaller painting in the preceding post directly below,... different treatment. In this larger format, I emphasized the formality and order of the landscape design and how its intelligently studied proportions manage to perfectly harmonize with nature. That is exactly why this view gained so much fame and continues to draw admiration through the centuries: great art is timeless.
This painting captures the landscape designer's intent by offereing a softer view than the smaller study provided.
The view is from the upstairs rooms at the Palais de Versailles.

The View   oil on canvas   30" X 40"   Chris De Dier
available from the artist. call for pricing. http://www.chrisdedier.com/

Thursday, August 12, 2010

Civilized Garden

Even after more than 300 years since its conception, one can only admire the composed grand vista offered by the "backyard" of the Palais de Versailles.
At the time when it was designed and created, the immensity of the project was supposed to underscore the control that humankind held over nature and how harnessing wild forest into symmetry and order reflected the power of king and government. Seen under the vastness of a hot summer sky, however, it shows that nature still prevails.

Les Jardins de Versailles I   oil on panel   8" X 10"   Chris De Dier
available from the artist. US$225.00 + $20.00 s/h

Monday, August 9, 2010

Opium Anyone?

Don't get excited... or nervous, depending on your inclination.  This is only announcing a painting of an immense field with poppies and a distant mountain range on the horizon. And as usual in my work, it's not as much about the subject as it is a study or composition of eroding forms and colors under heavy atmospheric conditions; another perfect example of what I mean by painting transitive blinks.


Poppy Fields   oil on canvas   36" X 36"   Chris De Dier
available from the artist. call for pricing. http://www.chrisdedier.com/

Friday, August 6, 2010

The Biggest Loser

Blame it on the economy, I guess? This commissioned painting hung for almost 2 months in the lobby of a newly renovated office building in downtown Austin until it became clear that the invoice wasn't going to be paid. As many businesses and self-employed people remain in surival mode, it was no pleasant news that this long anticipated sale wasn't going to materialize. However, in the end it remains to be seen who lost the most. No doubt the painting will eventually find another happy home, but what will ever happen to that wall?


Pebbles, in its intended space, was created after consultation with the interior designer to harmonize
with the planned materials and furnishings. I heard it will be replaced with a plant. 

Pebbles   oil on canvas   60"x60"   Chris De Dier
available from the artist. call for pricing. http://www.chrisdedier.com/

Thursday, August 5, 2010

The Devil's Saddle

Montclus is a well-preserved medieval village in Provence in the valley of the river Ceze, about 150 km northwest of Marseille. The village is situated on a hilltop by the river and surounded by dense woods. Across the river starts a trail that leads up into the hills. It's a good hike to reach the edge of this cliff, the highest point in the area, that offers a great view. I liked the dense fog that caused a sense of mystery and a feeling of being transformed to another time.

Devil's Saddle   oil on canvas 48" X 48"   Chris De Dier
available from the artist. call for pricing. http://www.chrisdedier.com/

Sunday, March 7, 2010

Apollo's Fountain

In this small painting of three of Apollo's horses pulling the chariot while Triton blowing on his conch shell paves the way through the Bassin d'Apollon - Apollo's Fountain - outside the Palais de Versailles, France, the fountain is in full operation spewing water up in the air and forming dense curtains of rain all around and over the sculpture, reducing its forms to dark silhouettes.


Apollo's Horses   mixed media on panel   8.5" X 8.5"   Chris De Dier
available from the artist. US$195.00 + $20.00 s/h.

Sunday, March 1, 2009

Moderation

This small painting is minimalist in subject and color range, yet complex in texture and glazing. It is one of my current favorites.

Seaworld   oil on panel   8" X 10"   Chris De Dier
available from the artist. US$225.00 + $20.00 s/h


Friday, February 27, 2009

Art Auction

In preparation for the annual Lady Bird Johnson Wildflower Center Gala and Silent Art Auction on May 1, 2009, I selected this painting for this year's participation. In 2008 I was able to donate a new painting for this fundraising auction. Lack of time has prevented me to do the same this year. This painting was made in 1997. It is an older work with the subject very appropriate for the occasion. The scenery in this painting is at Canyon Lake, in the Texas Hill Country. It has been part of my personal collection for all this time because this painting formed a milestone towards the development of my current style, where the sky dominates in importance over the landscape.
The Gala and Art Auction are a major fund raiser for the Lady Bird Johnson Wildflower Center. This is the third year I made a donation to this important institution.

Sunrise - Canyon Lake oil on canvas 30" X 40" Chris De Dier

Wednesday, February 18, 2009

Thanks For The Memories

Here is an old picture of the Main Square in Ninove, Belgium. It appears to be taken in the early 20th century - perhaps between 1910 and 1920. I was born in the neo-Renaissance style house with the two tones of brick, that faces the viewer at the far end of the Square. It forms the corner between the Square and the Beverstraat. My parents rented that house after they married. On the ground floor was the store. My mother sold textiles; aprons, tablecloths, ties and underwear. Behind the store were a living room, a small kitchen and a tiny courtyard. Upstairs on the second floor, behind that window that you see there, was my parent's bedroom. That is were it happened. Right there.
My brother was born in that room also, two and a half years later. I still remember that night. It was in the early hours of New Year's Day 1961. The sounds of commotion and moaning woke me up. I crawled out of bed and went to look for my parents. When I opened the door to their bedoom, a half story below where mine was, I saw my mother in bed, covered to her neck by a white sheet that rose up in the air towards her feet. At the footend of the bed was the doctor, seated, and reaching into that white tent. In the corner of the room, the midwife, clad in crisp starched white coat and nurse hat, was busy in a cloud of steam, filling bowls with hot water and arranging clean towels. Both turned and looked up for a moment in my direction, smiled and made a joke. My father held me by the door, allowed me to stay a few minutes before escorting me back to bed. That's all I remember.

At the end of the Beverstraat, beyond view in the picture, was my school where I went for a year before my parents were forced to move. The city had bought the property. The house was soon to be demolished to make room for a new avenue. That was in 1963. I remember walking home from school, hand in hand with my teacher. A big truck was parked in front of our house. It was the mover's. My mother, my little brother and I climbed into the front seat of the truck. I sat beside the driver who drove us to our new home, Nieuwstraat 54 in Aalst, a bigger city 25 km away.


Fish In Murky Water

Small paintings can be fun sometimes because they allow easier experimentation. They are more practical to handle horizontally than larger formats and there is less pressure that the efforts should be successful. Controlling water based paints on oil paint is challenging but in the case of these three new paintings, it created more or less the desired result.

Koi I mixed media on paper 8" X 8" Chris De Dier


Koi II mixed media on paper 8" X 8" Chris De Dier


Koi III mixed media on paper 8" X 8" Chris De Dier

Wednesday, February 11, 2009

There Is A Difference

I was asked to paint a copy of an existing painting. The reason for this is a strange topic in itself that can be discussed at a later date. The best way to manage this commission was to paint similar without trying to imitate. The general idea, topograhy and light color range of the original painting were followed; beyond that, there was no point in even trying to come close to a copy.
Although both paintings below have strong similarities, they are quite different. I hope that one day, they will come together and be hung beside each other in the same space.
The top painting is the latest.

White II oil on canvas 48" X 60" Chris De Dier


White oil on canvas 48" X 60" Chris De Dier


Wednesday, August 27, 2008

More Rocks

These are the last in an expanded series. My paintings are created by numerous layers of thin glazes, providing very subtle color gradations. The properties of these glazes, combined with the application method that I use, do not translate well in digital photograpy and their effect can only be fully appreciated by seeing the original work.
I have to begin a commissioned painting now and then will probably be ready to change the subject for a while.


Enchanted Silence oil on canvas 36" X 36"


Enchanted Rocks XII oil on canvas 48" X 48"


Enchanted Rocks XIII oil on canvas 48" X 48"


Enchanted Rocks II oil on linen 36" X 36"

Tuesday, July 29, 2008

Evolution

This painting was finished about 10 yeas ago. It shares the subject with my new work in the previous post. It is always interesting to see how someone's style evolves with time.

Enchanted Rocks   oil on canvas   48" X 48"   Chris De Dier
available from the artist. call for pricing. http://www.chrisdedier.com/