Category: ART

RT is the old Humanities. The interaction of Diabetic and Hepatitis brings to the creating of Art much learning.

The Landfill

I have given this post a Tag: Lithographic, Printmaking. Although there are four other posts on this subject here at Gevluef. Use Search, “Horsechestnut” to get the others. UC Santa Cruz has a lot of limestone for fine art printing. It is a major collection, and a reason to go to UC Santa Cruz – or not. They have a landfill.

I saved quite a lot of horsechestnut seeds from Seattle which I brought with me on my vacation to Taos and Chico California. During my vacation I determined the seeds would most benefit the lithography studio at UC Santa Cruz. At UCSC there is an excellent collection of lithographic limestone for printing Art. The infused fresh water would be good for them since they are fine porous limestone and they absorb water from the printing process. So, I mailed the horsechestnut seeds to the UCSC lithographic studio. That was the beginning of the problem.

It was the summer session at UCSC in 2001 and the Teacher’s Assistant received my collection marked as “ART SUPPLY.” He opened the package and the plastic tub containing the seeds. Then he said quietly, “I’ve been had!” He didn’t even look at the paperwork; he just threw everything away as if he wanted no part of it. There were over fifty seeds in that collection. That’s enough to make sweet water for lots of printmaking sessions. But the highly valued seeds went to the landfill instead. I have to make it clear to the reader that I intended the seed collection to be used at the lithography studio. When I am asked if I put the horsechestnut seeds in the landfill, I tell people, “I can’t do it.” If you are from Santa Cruz and blame me for this problem, I am sorry. I have had horsechestnut seed infused water in my body. I have some concerns about the landfill. I have to deal with the unexpected outcome of the landfill because the TA wasn’t interested in learning what the seeds were.

I imagine that the seeds have made the landfill fresh and sweet, and that the people in Santa Cruz have trouble with it leading to the body. They were thrown away in 2001, so there is an entire section of the landfill affected; but, that they were buried long ago. There are some things to consider about this problem, but you must think that our cash-bills have horsechestnut seed as a fundamental element in the cash design – perhaps it is the ink or the paper.

The TA eventually found out that something went wrong and learned about the seeds after the fact. He has visited Seattle Washington where the seeds grow in the wild. At this late date, I have had the expectation that he introduce horsechestnut seed into the lithography studio like I planned; but, I have not been satisfied as to any progress toward my original intention.

Donating to Jeff

Tim Yates who I’ve written about in previous posts believes my money belongs to him. There is a moratorium on me receiving money because he is blocking it from coming in. To this day, I still have not received any money from donations.

I continue to donate, however, from a cache of funds involving the staff. Mostly these donations are made with the understanding that the staff is operating as a non-profit. I am being left out of the formula. This no longer works for me because I am the only one without money from a vast array of friends and family with millions.

People have tried to donate to me only to have their mail returned. This is consistent with the staff directive established by Tim Yates also known as Hugh Farrell.

Most of the people who know about me donate because I made a big splash in mental health when I got my rhinoplasty in October of 1991. If you don’t know what a rhinoplasty is then you should learn about it. But if you do know about the rhinoplasty, you probably know that I’m supposed to get the old money and that my problem is that new money doesn’t do that. It’s pretty much all staff money.

The rhinoplasty is more than twenty years old though, and I have to start the matter of royalties from my painting. This matter is becoming more important because I am 45 years old. This is the minimum age for an annuity. The money that comes in from the painting in the form of royalties should reach me directly. Because of Tim or Hugh Farrell I’m not getting my royalties. So, I’m asking for my royalties on the painting. At this point just sending a check won’t work. I would like it very much if a private investigator could be hired to try to get money to me directly. I know that I am not asking for too much. But it has to be done. Thank you for your prompt attention in this matter.

Architecture and Art

All that I ask is that it be an original. The architect cannot tolerate any movement. The building design is based on a simple idea which the many plans of the structure are iterations of. The building must make sense. That simple idea must remain true throughout the design. So, I’m asking again to be sure in case the architect likes Art, if there is any Art at the drafting location, that it please be original Art.

Citation for the Painting

When John Hostler wrote his book, my number 46605 became a possible area for a work of Art. The number might not have had any history as an area prior to that. But, I suspect the number 46605 does have more history than that; perhaps even prior to the invention of the Decimal.

I have not said this before, that the number is the dimensions of the painting in inches because I thought it was a no brainer. I thought of no other interesting composition content for a large painting than it’s dimensions.

I purchased the canvas from a sail maker in Santa Cruz. After calculating some possible dimensions, I picked 46×60.5 because the number looked pleasing and sounded nice. Looking at the back of the work, there is more canvas pulled around the stretcher bars in one dimension indicating that the canvas might be for a size taller than forty-six inches. I used that extra canvas on the back of the painting for my signature: Jeff Devitt UCSC instructor Kacy Kladget.

I was taking a rigorous Philosophy sequence of classes that year, and UC Santa Cruz had John Hostler’s book at the college library. I did not see it, however, until after I painted.

If it is any interest to the reader, there were some studies, one in particular that was used for the painting; but, those studies were thrown away by my father. I looked for them in 1993 among my portfolio stuff and they were missing.

In prior posts I’ve mentioned the art supplies. Try the 46605 link at the bottom of this post if the reader is only interested in the painting.