Author: ultrawolvesunderthefullmoon

https://www.instagram.com/wolvesofgray This blog is a refugee and a survivor of the Great Tumblr Inquisition of December 17th, 2018. I am gay artist, who received training at the Rhode Island School of Design, and now, a retired high-end fine art framer living in Maryland, USA. My interests and studies in life run a wide gamut from art to history and from the scientific to the esoteric. I have been building this blog of images and texts for the last eight years. My wish is that my posts pique the interest of viewers and encourage them to experience more.

Stephen King: “The Clown’s Grin Widened”

Halloween: First Chapter: The Clown

“Want your boat, Georgie?” Pennywise asked. “I only repeat myself because you really do not seem that eager.” He held it up, smiling. He was wearing a baggy silk suit with great big orange buttons. A bright tie, electric-blue, flopped down his front, and on his hands were big white gloves, like the kind Mickey Mouse and Donald Duck always wore.

“Yes, sure,” George said, looking into the storm drain.

“And a balloon? I’ve got red and green and yellow and blue…”

“Do they float?”

The clown’s grin widened. “Oh yes, indeed they do. They float! And there’s cotton candy…”.  George reached.The clown seized his arm.

And George saw the clown’s face change.What he saw then was terrible enough to make his worst imaginings of the thing in the cellar look like sweet dreams; what he saw destroyed his sanity in one clawing stroke.

”They float,‘” the thing in the drain crooned in a clotted, chuckling voice.

It held George’s arm in its thick and wormy grip, it pulled George toward that terrible darkness where the water rushed and roared and bellowed as it bore its cargo of storm debris toward the sea. George craned his neck away from that final blackness and began to scream into the rain, to scream mindlessly into the white autumn sky which curved above Derry on that day in the fall of 1957. His screams were shrill and piercing, and all up and down Witcham Street people came to their windows or bolted out onto their porches

.”They float,” it growled, “they float, Georgie, and when you’re down here with me, you’ll float, too–”.

-Stephen King, It

Jean Michel Basquiat

Jean Michel Basquiat, “Fallen Angel”, Acrylic and Oilstick on Canvas, 1981

Dominated by the figure of a large angel, rendered in staccatoed red, yellow and black lines, floating against a luminous blue background, “Fallen Angel” is a supreme example of Basquiat’s early artistic output. Paramount to the painting is the rapacious creativity and unrepentant vigor contained within each brushstroke.

The vivacious tonal qualities of the work represent a radical fusion of street drawing onto the Modernist canvas. The colors are not those of easel painting, obtained while learning a craft and constantly worked on. They are lively, swift colors of the street, both vibrant and fading, affixed and opposing. The unsophisticated, complex layers of paint and line contain an unrestrained primitivism that eschews high artistic conventions.

Wolfgang Buttress

Wolfgang Buttress, “Lucent”, Fibre Optics, Mirror

Commissioned by Hearn for the John Hancock Center in Chicago, Lucent will be the focal point of the towers entrance.

Working with eminent astrophysicist Dr. Daniel Bayliss, from the Australian National University, Wolfgang has created a semi-spherical sculpture made up of thousands of nodes which accurately map the stars which can be seen in the Northern Hemisphere from the Earth with the naked eye.

Fibre optic lighting subtly pulsates over the day and throughout the seasons. Lucent is attached to a mirrored ceiling creating the illusion of a whole sphere. Beneath the artwork sits a polished black granite pool of water; this reflects the sculpture and suggests a sense of infinity

Lucent expresses and emanates light; the stars of the Southern Hemisphere are implied in it’s reflection. They are there but cannot be seen.

Gilbert and George

Gilbert and George, “Hope”, One of Four Paintings of the Series “Death Hope Life Fear”, 1984

Gilbert and George met in 1967 while students at St. Martin’s Art School in London. They began to create art together, developing a uniquely recognizable style both in their pictures and in their presentations of themselves as living sculptures. Over more than forty years, they developed a new format that created large-scale pictures, which are visually and emotionally powerful, through a unique creative process. Most of their pictures are created in groups and made especially for the space in which they are first exhibited.

The artists’ art, which is sometimes seen as subversive, controversial, and provocative, considers the entire cosmology of human experience and explores such themes as faith and religion, sexuality, race and identity, urban life, terrorism, superstition, AIDS-related loss, aging, and death.