{"id":5016,"date":"2012-01-06T11:39:15","date_gmt":"2012-01-06T19:39:15","guid":{"rendered":"http:\/\/tule-lake.com\/artfeats\/?page_id=5016"},"modified":"2012-01-06T13:42:57","modified_gmt":"2012-01-06T21:42:57","slug":"cosmic-migration","status":"publish","type":"page","link":"https:\/\/anderstomlinson.com\/artfeats\/painting-directory\/gallery\/cosmic-migration\/","title":{"rendered":"Cosmic Migration"},"content":{"rendered":"

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\n… Notes from the Lofty Sportscaster.<\/strong><\/p>\n

Cosmic Migration is 30 paintings that began in 1995 on masonite panels, used as temporary ceiling panels, pulled from a construction site’s trash pile. Anders will let the viewer decide if his efforts reflect added value to what was headed to a land fill.
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Mountain Spirits<\/strong> reflects the time Anders Spent near the Lava Beds, 24 x 36 inches.<\/p><\/div><\/p>\n

Surrealistic Environmental Observations<\/strong>, “SEO”, is a good description for the Cosmic Migration. As Anders was painting this series he was also documenting Klamath River Watershed natural resources issue. One of his films during this period, Fields of Splendor<\/strong>, captured the Spring Waterfowl Migration in Tulelake, CA. A working rule for the Cosmic Migration, each painting would include flying geese.
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Theater of Irrigation<\/strong> and Spring Flows<\/strong> are both 24 x 30 inches.<\/p><\/div><\/p>\n

Anders frowns on the concept of Mother Nature. Humans are dealing with Human Nature, it is all they can control, and that is in doubt. Cosmic Migration’s time frame mirrors geese on Earth. Migration is an Universal Truth<\/strong>, all bodies are in some stage of migration.
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Passing<\/strong>, Club Reclamation<\/strong> and Witness<\/strong> are 31 x 24 inches.<\/p><\/div><\/p>\n

Early in Anders painting years he was intrigued by Surrealism<\/strong>. It matched a tone he perceived watching the unending juxtaposition of modern realities.
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Birth Moment<\/strong> and Passing Volcanos<\/strong> are both 24 x 36 inches.<\/p><\/div><\/p>\n

These paintings are brush work, a departure from the Anders patented mix-attack approach. These were peaceful times working on a small table in a small studio-room with a few brushes and a couple of paint tubes. Naples yellow<\/strong> and iron oxide<\/strong> red are colors that find their way into all his paintings.
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Planetary Spawning Grounds and Future Teller are both 24 x 31 inches.<\/p><\/div><\/p>\n

Over population<\/strong> are the two biggest words mankind must use in a sentence properly. Almost any headline, or late breaking new bulletin, can be followed back to over population. Human will need to deal with humans in a new light. It is moments like this that Anders takes comfort in not having children. Painting filled all voids life handed him.
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High Pain<\/strong>s, Storm Nexus<\/strong> and In the Eye<\/strong> are different sized canvases in progress.<\/p><\/div><\/p>\n

Anders has painted few paintings on canvas. Panels are sanctuary for his ballistic approach<\/strong> to starting paintings. Canvas is a different world that requires different tools and techniques.<\/p>\n

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Fire Bog<\/strong> and Fire River<\/strong> pay homage to volcanos, both 24 x 36 inches.<\/p><\/div>\n

There are no answers in the Cosmic Migration. And there are no questions in the Cosmic Migration. All there is is motion and juxtaposition<\/strong>. Sounds, colors, emotions, smells, weather, recognition, interpretation and abstraction make a day wonderful and full. A showing of Cosmic Migration would require Anders to provide an audio atmosphere for the viewers.<\/p>\n

To see more Cosmic Migrations pages visit tule-lake.com<\/a> <\/p>\n","protected":false},"excerpt":{"rendered":"

… Notes from the Lofty Sportscaster. Cosmic Migration is 30 paintings that began in 1995 on masonite panels, used as temporary ceiling panels, pulled from a construction site’s trash pile. Anders will let the viewer decide if his efforts reflect added value to what was headed to a land fill. Surrealistic Environmental Observations, “SEO”, is […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":5012,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"class_list":["post-5016","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/anderstomlinson.com\/artfeats\/wp-json\/wp\/v2\/pages\/5016","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/anderstomlinson.com\/artfeats\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/anderstomlinson.com\/artfeats\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/anderstomlinson.com\/artfeats\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/anderstomlinson.com\/artfeats\/wp-json\/wp\/v2\/comments?post=5016"}],"version-history":[{"count":3,"href":"https:\/\/anderstomlinson.com\/artfeats\/wp-json\/wp\/v2\/pages\/5016\/revisions"}],"predecessor-version":[{"id":5074,"href":"https:\/\/anderstomlinson.com\/artfeats\/wp-json\/wp\/v2\/pages\/5016\/revisions\/5074"}],"up":[{"embeddable":true,"href":"https:\/\/anderstomlinson.com\/artfeats\/wp-json\/wp\/v2\/pages\/5012"}],"wp:attachment":[{"href":"https:\/\/anderstomlinson.com\/artfeats\/wp-json\/wp\/v2\/media?parent=5016"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}