C H JANSON

The secret of the old winch

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This “impressionistic sketch” was created a while ago. I turned it into a 3 minute video, the whole thing going “crimsonite” towards the end. You need to hang in there!

I pondered a question on what was going on, and let my fingers respond. Eyes were closed.

Since then it has been lying there, subject to my slow but steady accumulated interpretations. There are many layers, and I have found the whole image pretty wild, given the closed eyes, and the time used to paint it; a few seconds.

And now I know, I can do THAT!

 

Then I heard Julia Holter’s crazy-beautiful song, I shall love 2. The tender voice, that bass line… It became the catalyst I needed. To stop hesitating.

And since my youngest daughter attained her majority in June 2019, I felt like creating a special salute for her. A video became the result, but you can watch this generalized version without my personal notes to her. It’s messages are – at least per intention – universal. You will not be an intruder. Instead, I bring the personal pictures used in the original video at the bottom of this essay, because it is a beautiful thing to love and be proud of a daughter. It is the “learning to let go” type of love. Really hard work!

I felt like putting into words what I had understood, about “flapper life”. At least a fraction of that interesting subject. Somehow, the text is the painting’s cameo, albeit from the mind only. The rest; the painting and the music, is from higher grounds. What could I call it? A multidimensjonal multi-message mashup?

The wise recommendation, the solution to almost all and everything, comes from Tobias. I mean literally; directly from Angel’s peak, though via Geoffrey Hoppe. If you are listening with stereo loudspeakers, not headphones, you should – symbolically – hear Tobias floating in the air to the left, due to my AudioBloomer technology.

So, be the Flapper for a couple of minutes, if you want to. Or the young stud. Or an older one, for that matter. If you can see her. She is there in multiple positurs. The main motive contains the flapper turning around from left to right, compressed into the blink of an eye. To me, that’s amazing. (Click on the plus sign below to get a little help)

Just put the flapper into your own context and start hesitating. Or go violet “winchy”. You will find a way. Hope you like it!

With the original in the middle:

  1. The retouch to the left, at its three o’clock, is showing the Flapper, probably on her knees, peeking down. We observe her backhead and the right shoulder/arm, almost as if she is pondering along the line of this immensely funny poster that I once stole from a stranger.
  2. The retouch to the right:
    – The flapper in blue jeans, fringed at the bottom. It must be the Divine Feminine version, as she holds the golden nectar cup to mouth.
    – A tint of light added around her right pointing face caricature
    – The golden hear for the version looking to the right. Observe that the non-colored (non-retouched) hair is her looking to the left, and we see her backhead only in that case.
    – The red dynamite (the bomb) at six o’clock, with its burning detonator
    – The brown rat just behind the dynamite, slightly to the left, in its trap.
    – And importantly, the purple old wire that just snapped. The right part is svushing downwards due to the natural tension. Its “smoke” can be observed as a horisontal effect in the middle of the picture. I symbolically added purple color also to her headband.The blue jeans version shows a perspective that puts the observer much higher up in the winch house than the Flapper, but there is another perspective where the observer is more aligned to the height of the Flapper, though still above. In this case, the drawing becomes deeply sensual, and the jeans fringe is no longer that, but perhaps “foaming” water around her thighs. It is much too daring for me to paint it. I leave it to you to see it.

There is also an alternative to the wire being a winch. At three o’clock, where the wire is meeting its holding wheels, there is also elements indicative of a scissor, and there is a dark figure behind her, stretching a left arm towards the wire that is now perhaps a rubber band. The rubber band was just clipped with the scissor, a release of childhood? Definitely in this case, she gets a little help as she prepare for her adult life. To my experience, there is ALWAYS a double promise in any informational element in these type of drawings. Very intelligent. Superhuman!

There is so much more in this sketch, but I will stop here.

Henriette Remelle - today

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Back home from a wonderful vacation in Bulgaria, picture below, Henriette and I “spontaneous composed” a song of joy. Listen to it here (another video)

Some victorious situation in a Bulgarian swimmingpool (2007)

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