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BRIAN'S MASTERPIECE

Brian's Masterpiece almost ready for shipment to all the major art galleries in the world...............................the odour of the sap may bring joy to a few souls submerged by depression or GMO sickness............................................. The following is written by Richard D, freelance art critic. After reading William’s book I feel as if I have had a Saulistic encounter on my way to a Turner Prize giving evening and returned home to find my collection of fairly realistic works spanning three centuries had all turned into beds overflowing with excrement. Now I seek paintings for my collection that quicken the spirit to unite. See Plate 25. This is the double bed that will win The Turner Prize for the next 1,000 years. William has been asked by Serapis and Dodona to pass to me part of the parchments to guide me in writing about art in this book. To be strictly accurate RA’s memories which are foundations for paintings began on his grandfathers farm in a remote area of Charnwood Forest. See plate 1, a drawing done at the age of twelve. I believe this drawing lays the foundation for many of his watercolours of woods. In a period of history when a pile of bricks are extracted out of their functional place and superimposed in a place where their appearance causes either amusement/shock or negative introspection, RA’s pile of bricks in plate 2 will, seen by the manipulators of the art world, as of no significance to the 21st century. Shock is at the moment the flavour of the times. Beds that most animals would find repugnant to lie upon never mind sleep in, are displayed in our art glass houses as prize specimens of some kind of genetically engineered penis erectile tool. Produced I say to feed the future cultural elite when they are starving from too much negative sex in what should be a ‘real’ sex bed! The gentle drawing in chapter 3 was the bed RA was born in. This may not titillate the media to produce a documentary on the promiscuousness or not of his parents. But neither does it promote the gutter antics of dogs. The church has lost its way through indulging in a power game and consequently lost the respect of the people. The high priests of the art world have spotted a gap and filled it with the opposite of spiritual. Apollyon is loose in the galleries and auction houses using a national credit card, seemingly as bottomless as the pit it emerged from! Art, if it be anything, must be a quest of the spirit, a quest which is conducted through the practice of producing outer visible manifestations of inner, invisible, realizations. It is a magic instrument for sensing the qualities of life - those qualities which lie outside the realm of proof and precise measurement. Here lies its very virtue, and its great importance in an age like ours with its scientific “stance” and its materialistic viewpoints. Inner invisible realizations, sex and death have a beauty that transcends the material, yet the bricks, the bed and the pickled cow all three choke the soul in an asthmatic convulsion, resulting in a future public needing tranquillisers to sedate them from the pain of seeing their hard earned taxes squandered on f-art. These ‘exhibits’ are not inner invisible realizations but opportunist bandwagon exhibitionists, exploiting societies decay. Bricks in art/architecture have been expressing inner invisible hopes for thousands of years. A home is the centre of this spiritual root. The true bed is the one where love, not lust is the fulcrum of the spirit. The pickled cow may ‘reflect’ the decay at the highest levels in the establishment in feeding cows to cows, but it is not art, it is simply an artful exploitation of a given moment in a sad piece of politics. In less ‘liberated’ times all concerned would have been either tarred and feathered or burnt at the stake, as black witches. -From the book THE BOTANY BAY OF THE MILKY WAY by Ron Atkin http://truthinpictures.com/

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John Cappello 28 Mar 2018

Always professionally Captured, Profound Examples of America's Natural life