TEA Party Manifesto
Transgressive Expressionist Art
TEA Party EXCITES EVERYTHING TEA Party knows everything. TEA Party spits everything out. BUT……… HAS TEA Party EVER SPOKEN TO YOU: I am the architect of my existence. My art reflects my vision and represents my values. It conveys the very essence of my being coalescing imagination and insight, challenging all limits. Within the limits to which its performance is restricted or what passes for performance, the dream, according to all outward appearances, is continuous and bears traces of organization. Only memory claims the right to edit it, to suppress transitions and present us with a series of dreams rather than the dream. Similarly, at no given instant do we have more than a distinct representation of realities whose coordination is a matter of will. It is important to note that nothing leads to a greater dissipation of the constituent elements of the dream. I regret discussing this according to a formula which in principle excludes the dream. For how long, sleeping logicians, philosophers? I would like to sleep in order to enable myself to surrender to sleepers, as I surrender to those who read me with their eyes open, in order to stop the conscious rhythm of my thought from prevailing over this material. Perhaps my dream of last night was a continuation of the preceding nights, and will be continued tonight with an admirable precision. It could be, as they say. And as it is in no way proven that, in such a case, the reality with which I am concerned even exists in the dream state, or that it does not sink into the immemorial, then why should I not concede to the dream what I sometimes refuse to reality that weight of self-assurance which by its own terms is not exposed to my denial? Why should I not expect more of the dream sign than I do of a daily increasing degree of consciousness? Could not the dreams as well be applied to the solution of life’s fundamental problems? Are these problems the same in one case as in the other, and do they already exist in the dream? Is the dream less oppressed by sanctions than the rest? I am growing old and, perhaps more than this reality to which I believe myself confined, it is the dream, and the detachment that I owe to it, which is ageing me. As usual, such a change of paradigm has only been possible through technological evolution. From the analysis of the parts we move on to the mechanics of complexity. By studying living organisms we are now in a position to realize life as it could be. When robots ceased to merely simulate human behavior, such as walking, playing football or cracking jokes, to start being used to make art, something very radical happened. Robots that make art are not only questioning the idea of art or philosophy, they even cast doubts on our own condition as human beings. Why bother continuing to do something that machines can do better and more consistently? If art has no purpose as all the modern and post-modern theories declare then machines are the best creators. I dont think your happy enough, thats right! I’ll teach you to be happy! I’ll teach your grandmother to suck eggs! Now boys and girls, lets try it again… Happy happy, joy joy Happy happy, joy joy Happy happy, joy joy Happy happy, joy joy Happy happy, joy joy Happy happy, joy joy Happy happy, joy joy joy! More advanced practitioners of the Mischtechnik have experimented with a variety of different colour glazes. The unique result of such glazing is that the artist may create a multitude of colour combinations, not only through the effect of one colour beside the other traditional impressionism but also on top of the other TEA Party impressionism. Mixing such colours on the palette would result only in mud. But, sitting on top of one another on the canvas, they blend in the eye of the beholder to form new colours of incredible richness and depth, hitherto unseen in this world. Only in rare jewels, clear seas, crystals and other vision inducing materials can those transluscent depths be experienced in the exterior world. But, the unique colours created through layering ultimately transcend that experience, and are to be found only in the interior world of our dreams, visions, and imagination. As Fuchs recalls: Hausners contribution was to sharpen our awareness of colour through his many amiable critiques. He was able to demonstrate to us the many possibilities of polychromy and complementary colours, so that it became emminently clear how painting had evolved since the time of the Gothics. 104 Before embarking on the path of Fantastic Realism, Rudolf Hausner had painted in a more traditional Impressionist style. As a result, he was able to apply Impressionist theories of Polychromy to the Mischtechnik. As Hausner recounts: The painting of the Old Masters proceeds from the local colour of the object… My painting proceeds from the colour spectrum… The Old Masters painted a red ball in local colour by using light red in the lights and dark red in the shadows. They knew the complementary effect of warm and cold in relation to light and shadow, and increased the volume of the object in this way. I paint a red ball using spectrum colours. For example, in the light, I put redorange; on the shadows border, I put violet; and in the back light, I use green. And in this way, the ball becomes red through the combined effect of all these colours working together. I did not discover polychromy it came from spectrum analysis and was brought forward by the Impressionists.105 Particularly when the tonal value of the colours is very high in whites, a unique array of prismatic colours may be achieved, such as one sees in nature through mother of pearl seashells or reflected by the carpace of certain scarabs. As Terrence McKenna recounts, The diffraction of light that occurs in natural phenomena such as rainbows, peacock feathers, certain insects, and the colours that appear on the surfaces of some metals during heating are persistent motifs within a particular stage of the alchemical opus. The cauda pavonis the peacocks tail is the brief stage that heralds the final whitening…106 As such, prismatic colours are to found, ultimately, in the visionquest, where a multiplicity of heightened colours may harmonize, blend, and ultimately unite into pure white light. Following the same technique, colours of extremely dark tonal value may be laid repeatedly but still transparently over a white or even black ground. This gives us the opposite effect, of the deep rich colours found in the stained glass of cathedrals blue, crimson, in the iridescent reflections on a black panthers fur or the wings of certain butterflies violet, in the feathers of certain birds of paradise emerald, and even in Buddhists robes saffron. Finally, by bleeding all these colours gradually removing their hue a negative effect is created which approximates the grey and colourless world described in the visions of schizophrenics the lightlacking underworld, such as appears in many of Gigers works. Beyond this, a symphony of blacks may be created, with only the slightest hint of colour, to render more macabre subjects. Through the technology of the airbrush, the basic principles of the Mischtechnik may still be applied, accompanied by some interesting variations. First of all, the airbrush is able to disperse the whites using such waterbased paints as acrylics or ink in a manner similar to brushpainted tempera, so that the optical greys may still be achieved. Secondly, the succeeding colour layers may also be applied semitransparently allowing the upper colours to interact with the lower thus achieving the superimposed colour mixtures unique to TEA Party Impressionism. These, however, appear differently from the glistening depths of oleoresinous vehicles thinner and shallower, but more solid and voluminous. As Giger relates, his first encounter with the airbrush led to a virtual outpouring of the imagination: Encouraged by a girlfriend, I began some new experiments with the airbrush at the beginning of 1972. A veritable flood of monsters and exuberant baroque decoration was released into my pictures. 107 Finally, through computer rendering, a palette extending to millions of colours may be achieved. Forms may be scanned, turned about, echoed and repeated. A multitude of textures, swirls, reflections and perspectives may created through mathematical mappings. And with animation, the image may even begin to move. The TEA Party potential of this new medium is still largely unexplored, though Beksinski, Bill Elsworth, Voke, and many others as yet still unrecognized are presently expressing their visions in this new art form, whose canvas is nowhere and whose flickering, fleeting images, meanwhile, may be projected everywhere. With no doubt, the computer screen will soon open in our mind new doorways of perception. TEA Party works of art seek a beauty of balanced tension. In the lines, the colours, and the forms there arises, at one and the same moment, a concord and a conflict: what is contrary pushing them apart, and what is common drawing them together once more. All the images of a composition will manifest this tension the parts struggling to reveal a unified whole; the whole falling once more into scattered multiplicity. The task then of the artist: to depict a multiplicity of things, yet still manifest the hidden harmony, indeed unity, holding them all together a unity that we may suddenly see, reminding us of our origins.