Tuesday, April 23, 2013

Dreaming Dandelion Drama: the formation of nothing


Eddies of echoes welling up inside the reverberation signal of secondary silence while the formula of dreaming passes the gulf of dormant cognition after the deluge washes the idea of nothing out past the waves of inherent possibilities while functionality is just a state of being and being leaves more to be desired than we were talking about the last time splash adventures reciprocated actual results and there is a method to this madness if you stand there in the rain long enough but even then it is always going to stop raining sometime and the totally optimist in this movie keeps saying that they can hold out and not get it whatever that it is before it stops raining and we all cheer the effort to avoid getting whatever it was that they didn’t get while standing out there in the rain one more time like getting wet is all that important and then the rain comes and washes it all clean again and these marks that mark where the idea of nothing went before nothing was revealed keep shining in the trademark sunlight last gleaming light beneath a sky of stellar memory illuminated in sequences of imposition of myth that has nothing to do with star so bright make my wish come true in the land of concrete situations as it all drones into a backwash of echo again and again and there are holes in my shoes and rocks in my socks with repetitive symbolism of empty pockets except for the greater gulf of openness where the holes reside and it all forms into what can’t be sought or spoken of but just experienced and even as it forms it disappears into the nothingness of self-fulfilling prophecy and it begins all over again and again as the rain comes and after it is all said and done not all that is gold glitters in the abstract notion that liberation of self from ego-oriented desires and expectations can be integrated into a thin bit of rice paper where the waves break across the universe of pilgrim technology and the gossip doesn’t mention how many were left standing out in the rain or which way the sandman went while I hit the paper too hard with the brush and rupture the skin of silence with an explosion of fractured memory left dreaming dandelion drama beyond nothingness

Oliver Loveday © April 23, 2013

 “Formation of Nothing”
Sumi ink and gold ink on rice paper
13 x 9.5 inches | 33 x 24 cm
April 15, 2013















For more information about this work visit the Sumi Ink page on the Loveday Studio web site.

Monday, April 8, 2013

Post-Industrial Cave Art


Layers of color and start out with white into white the color saturation making this start of a new work out on the bank beyond the retaining wall wind blowing light breeze paint fumes going east towards the other apartment but no one home so keep working to get the first layer down on the paper and as it dries out Maggie goes out I’m inside waiting for a minute for it to dry and then take the other stuff out to paint and I ask her if she wants to paint some and she nods so I get the crate and sit it next to the cardboard box folded up from the sidewalk alongside Henry Street sidewalk gleanings of needing a piece of cardboard to work on so I can use push pins to hold things in place if I want to work vertical but today the wind is blowing but first we put the mesh from a potato sack over the paper and she paints and move it and use the mesh from a Mandarin oranges sack a little pensive until move the mesh to see what is left painting in the blind here and the mesh works very fine very fine and the spaghetti noodles go on next and Maggie paints different uses different speed time place approach not the same as how I work and I watch and go get camera to photograph as she does a hand impression on her latex glove outline cave painting post-industrial cave art longest running style school of thought way of doing art in the history of mankind as Maggie taps into that energy of signals to infinity of “I am here” identity unit of reality presence function of persona and more as the photographs flow and the video captures the last few minutes of work and it is finished and done now on the wall arrival of cave art in this cave of later day saints riding out infinity with paper thin walls of cave art using cheap spray paint to make the marks without wooly mammoths or buffalo just potato sack mesh onion sack or is it oranges as the spaghetti noodles create worm holes in space quantum jump jump across the Universe into white as whiteness silver shimmer Jackson Pollock lightness of being within you without you nothingness evading time space continuum as this cave radiates I AM I AM I am here and more and more

Oliver Loveday © April 9, 2013 12:05am EDT




























Video of Post-Industrial Cave Art

Saturday, February 16, 2013

Energy Clouds: Work in progress


Energy Clouds | First Minute

Those storms would roll through in the summer and rock the house and jar the windows. The best ones were to the north at night where I could lie in bed and look out my window. Dad always said that it was “going up the river” when they did that. This meant that they were going up the Holston River which combined with the French Broad River near Knoxville to become the Tennessee River. As a child I didn’t know what he meant. As an old man I still don’t know what it means for a storm to go up the river. It just went that way. I would lie at night and watch the storms. It was my favorite part of summer. Those storms would fill the sky with brilliant lightning flashes and the thunder would shatter the stillness of the night. I knew dad had been struck by lightning when he was a young boy. Later we talked and he would have been around fourteen years old when it happened. He always made it sound like he was ten or eleven. I didn’t fear the lightning even though I knew it could kill a person. It didn’t kill him so it didn’t always kill someone. At fourteen I started having dreams where I would fly up into the clouds and there were old men in the clouds that would talk to me and tell me things. It was always kind of funny at first. Other times I would have dreams and just fly around in the clouds and watch the energy buzzing about. I didn’t think a lot about the dreams. They were just dreams to me as a teenage boy.

I went off to college and started out studying physics but it was too boring and I knew I would never stay interested in my studies or work later, so I changed to art. Something in me knew already that I could do the same thing with color as a numeric value that I could do with mathematics so I kept exploring the ideas I had about the Universe and what made the world work the way it did and how to show these ideas through art. I wasn’t doing science fiction art or fantasy art and I wasn’t interested in doing “space art” for NASA. I just wanted to create visual images of energy. After I graduated from college in 1976, I had a very unusual experience that sent my life off in a whole new direction. I came to understand that I had a vision. This was after doing a fast from solid food for two weeks. I didn’t know that one could have visions. I didn’t know what a vision was. I thought I would go insane if I didn’t make sense out of this experience. I read a book about Rolling Thunder, a Cherokee medicine man who lived in Nevada. I thought he might be able to help me understand this experience. I started making plans to travel out to see him in late summer of 1977. Before I made the trip I was struck by lightning that summer. Actually it struck a metal fence about twenty feet away that I was starting to cross and I got the juice.

During the summer of 1976 I had started a painting. It didn’t seem to coalesce in my mind what I was trying to do with this painting. Over the years I would pull it out and work on it some more. Finally in 2006 I realized it was what the thunder clouds looked like from the inside during the dreams I’ve been having since I was fourteen years old. I completed the painting after a few more sessions. I never did talk to Rolling Thunder about that vision. It worked out the way it was supposed to. I’ve had other opportunities to talk to him over the years before he crossed over in 1997 but the vision wasn’t something he needed to help me with.

In March of 2008 I went to live with my father for 15 months until his health declined to the point where he needed to go to a nursing home. He had fallen a few times during the last month of so and I had reinjured my back when I picked him up. The back injury caused me to have muscle spasms during my sleep which threw my neck out. I got a pinched nerve that became inflamed. I spent June, July, and August with ice on my neck, wrote a novel, and went off on a tangent from my usual body of work with fractals. I called it the Cityscapes series. It was like looking down on a city from an airplane and seeing all the interconnected energies. I was evicted by order of court to relocate at the end of August, 2009. I had planned to have prints made of the fractals and sell them at some point. While working on “Energy Clouds” I thought about one of the fractals from the City series and looked at it. I started looking at all the fractals from that series and realized that most of them would work in the video as still images. Then I generated a video based on “City #7”. Using this video modified my original storyboard, as I wasn’t planning to use any fractal video in “Energy Clouds”. I’m including a short clip of the work in progress that includes this fractal video. I’m also including several images from the City Series.

Looking back on all the experiences, ideas, working to understand what is going on with my life, I see that the Cityscape series was important at the time as a creative outlet. I didn’t have any way to create art. I had no place to work. I had no materials. I had a computer and a program that would create fractal art. Even during great pain I would create art in whatever manner I had available. “Energy Clouds” isn’t about the pain or dislocation I’ve experienced through dreams or when I was struck by lightning. “Energy Clouds” is becoming a work that includes that as part of the human experience, but more importantly it is about the need to persevere even during great pain or confusion. There are good energies coming through at the same time and as long as I can tune into those energies and work on that, the creative process continues. There are good things that come forward that are of benefit to all human beings. The series of art works that have been created as part of this video are filled with the energy and vibrancy that I’ve experienced during the dreams. This isn’t abstract art from my reality. This is landscape paintings from inside thunder clouds. This is realism as best as I can depicted it with all the technical skills available to me through art, computer-generated fractals, voice, and a desire to understand more about the Universe. These are my quantum physics formulas in color. Oscillations happen.

© Oliver Loveday







Sunday, January 20, 2013

Nothing in the Snow

The rush of air into the nostrils of winter clear in the mind of no attachments with the snow as it melts in the morning sun and this silence of muffled acoustics as the warmth spills into frozen gulf between now and mid-afternoon heat waves of doing what can be done now and that is the rub as time bleeds past the idea of making something happen sparks shooting across the Universe sparks shooting across the mental landscape sparks shooting from the brush in the snow before the rising sun right now and moving with no time to waste as time bleeds past the idea of snow melting before the rising sun and clean clear crisp this air as I move and make ink from the ink cake and stack the five gallon plastic buckets two abreast two high there and put the cardboard box on top of them and the air is still so I can move fast with no breeze to mess up this effort and the rice paper is right there but it is so light that the touch of the brush moves it and I’m holding the digital video recorder but I can’t see the monitor in the sunlight with degenerative vision of nearly six decades of hard viewing this world so I guess and point the camera with one hand while painting and splash and enough and take it over to the retaining wall and the bank beyond and try to paint on snow but it won’t take the ink so I splash and crisp clear clean air of nothing in snow that is gone the next day and the next day and the next clear crisp clean moment of knowing that it is all nothing this beauty and in beauty it is finished. A-ho!

White Earth Dreaming

Silence sinks in deeper than this knowing
Astral tendons secure the edges of nothing
All of reality ends at the passage of Empty Gate
There is no illusion after freedom from expectations
Eternity is meaningless in the No-Mind zone
We are all One now
We are now

Oliver Loveday © January 19, 2013 1pm EST



“Bliss Dance” (with 6 detail photographs)
Sumi ink and gold ink on rice paper
13 x 9.5 inches | 33 x 24 cm
January 20, 2013











“Nothing Unmarked” (with 6 detail photographs)
Sumi ink and gold ink on rice paper
13 x 9.5 inches | 33 x 24 cm
January 20, 2013










“Ventures in Nothing” (with 6 detail photographs)
Sumi ink and gold ink on rice paper
13 x 9.5 inches | 33 x 24 cm
January 20, 2013












© Oliver Loveday All rights reserved.

Visit Loveday Studio for more information about the art work.