Tag Archives: surrealism

The Surrealist Manifesto (Second Edition)

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(This, dear viewer, is called “Portrait from the Jungle”.  Three images from 1980 magazines put together in a surrealist manner.  It’s intentionally kinda creepy… that is of course why there is a chicken in it.  Chickens creep me out.)

 

The Surrealist Manifesto ; or Why I have to Juxtapose Silly Stuff to Make Meaning by Mishmashing

 

To begin with, you have to picture me as a seventeen-year-old geeky kid in High School Art Class in 1974.  Yes, I was four-eyed, but not with the cool round granny glasses, but the black horn-rims that were not only cheaper, but much more dramatically out of date and out of favor with my peers.    I was a participant in Art 3, a class that meant I was an Art nerd for the third time in only three years of high school.  Yes, I could draw well, and all the girls cooed in their sexy cheerleader voices, “Ooh, I just hate you because you can draw so darn good.”  And I would blush because it sounded like praise, even though you may notice they actually said they hated me.

Now that you have that awful image foremost in the inner eye of imagination, I can reveal that that was the year I discovered the work of Salvador Dali.  Yes, that’s right, the dumb old melted watches guy with the handlebar mustache that looked like he’d taken a pencil sharpener to both ends.  The melted watches, naked people with all their parts grotesquely stretched out and draped over stuff, and a soft sculpture that would thoroughly disgust anybody with baked beans scattered all around the foreground.  These were the elements of what was called the surrealist movement.  Surrealism, according to the all-knowing Wikipedia, is filled with the element of surprise, unexpected juxtaposition, and non sequitur.    Silly old Andre Breton, the founder and chief sayer-of-what-is-true about surrealism, said that first of all it is a revolutionary movement.  Now, I grew up in a determinedly Republican and conservative household in North Central Iowa.  I had to look up juxtaposition in the dictionary just to know what the heck they were talking about.  Back then, of course, I used Webster’s, not Wikipedia.  I stood to lose significant portions of the hide on my behind if my family discovered I was using my swiftly enlarging and apparently all-knowing high school brain to investigate revolutionary ideas!  In fact, if I had realized that political surrealism had an affinity for both Freud and Communism, I probably would have closed the book on it myself.  Still, I was swept away.

I entered college a few years later convinced that my revolutionary art ideas were going to galvanize the world around me, that world being Cow College, otherwise known as Iowa State University.  I was going to revolutionize the novel form by writing everything about my little home town in Iowa and doing it in full color, comic book style panel cartoons.  My heroes would be small town people who took on the greatest of all issues in modern life and tackled them so brilliantly that it would create world peace, make universal happiness without the use of drugs, and be such great art that it would put my name in the art books right beside Salvador and Rene Magritte.  People would be studying my work for years to come.

This was the point in life in which I created some of my best characters, the Bicycle-Wheel Genius who shunned modern technology and created his own pedal-powered helicopter, the hippy hobo who wore a coat of many colors sewn together from pieces of patchwork quilts and ultimately knew the most important secrets of life, the universe, and everything, and of course, the numerous fools and clowns that would put Shakespeare’s Touchstone, Falstaff, and Bottom to shame.   I was going to revolutionize story-telling in cartoons! 

As you know, someone else invented the graphic novel.  I don’t even know for sure that I had the idea first.  Probably not.  And, with my lifetime of luck reminiscent of Joe Btfsplk, I developed arthritis at the age of 18 and had to curb my obsession with drawing comics.

So, a thirty year career as a middle school and high school English teacher taught me that life is a series of surprises, juxtapositions of an unexpected variety, and non sequiturs.  Where had I heard that before?  Ah, yes!  I had realized that life is an exercise in surrealism.  Therefore, now that I am finally on track to become the story-teller that I set out to be, I will be a surrealist.  I will take the surreal bull by his electric pink and curly-cued horns and say, “Whoa, kitty-kitty, don’t permafrost this old wombat!”  Why will I say that?  Is it to be a surrealist like Dali?  Heavens to murgatroid, Baba Louie!  Of course it is!

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March of the Tin Soldiers

March of the Tin Soldiers

A big share of my surrealistic bent comes from the influence of Walt Disney on my childhood. Lady and the Tramp, Babes in Toyland, the Junglebook… Disney made me dance and dream.

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December 19, 2013 · 3:37 am

Being and Artistry

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Being an artist is a matter of genetics, luck, and loads of practice.  I began drawing when I was only four or five years old.  I drew skulls and skeletons, crocodiles and deer on everything.  My kindergarten and first grade teachers were constantly gritting their teeth over the marked-up margins of every workbook and worksheet.  I drew and colored on everything.  I eventually got rather good, drawing in pencil, crayon, ink, and as you see here, colored pencil.  I loved to draw the people and things around me.  I also drew the things of my imagination.  I drew my best girl, Alicia, and I drew the half-cobra half-man that lived in the secret cavern under our house.  I drew a picture of the house across the underpass from Grandma Mary’s house.  I drew cardinals, and I drew Snoopy cartoons.  I drew my sports heroes in football and hockey, Donny Anderson and Gordie Howe.  I drew monsters with fangs and fuzzy animals with huge soulful eyes.  I still draw and it’s mostly the same things that I drew when I was a child.  I will post more of the drawings here in the near future to dazzle you with my talents and ridiculous sense of the absurd.

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What Does Paffooney Mean?

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You may have noticed the word “Paffooney” used in some of my posts.  You may have been deceived into thinking it is some kind of real word.  Sorry.  It isn’t.  It’s my own original made-up word for postable buffoonery, baloney, and goofiness… with accompanying picture.  Yes, the picture is the key, though it may have no discernible connection to whatever the heck I happen to be writing about.  It is an illustration for illustration’s sake… and a story for the sake of putting words with the picture.  I confessed early in my blogging endeavors that I am basically a surrealist.  I juxtapose disparate images and ideas and make meaning by forcing the relationship.  Of course, you have no idea at all what I just said, and rightly so, because I tend to speak in college-art-history-meta-cognitive-gobblety-gook-speak, a language I first learned in college and have since banged into weird word-sculptures over the last thirty-three years by trying to explain things in a classroom to teenagers.  (I love the job, but I do not recommend it for those with a loosening grip on sanity.)

So, here is the definition; Paffooney, proper noun, (Origin from a silly blogger’s head, consisting of Paff, meaning a silly cartoon sound effect, and fooney an even sillier derivation from buffoon and looney.)  A silly picture and post combination caused by a brain fart or other gaseous anomaly inside Mickey’s head.

Forgive me, for I know my sins are many.

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Wild Ride of the Space Cowboys (Short short story)

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Gyro was no ordinary Nebulon.    Nebulons, known to many in the Imperium as “Space Smurfs” for reasons long forgotten, were the child-like blue people who inhabited deep space in their living starships.  Many thought the blue skin, yellow hair, and red apple cheeks showed evidence they were not just humanoids, but human space travelers mutated by the exotic radiations of the nebulae where Earthers and other humans had first discovered them.  Gyro had the red cheeks, the blue skin, and the bright yellow hair, but he also had qualities that were extremely rare in Nebulons.  For one thing he was a Psion, a being with the right brain mutation to perform powerful brain functions that seemed like magic to the ordinary space traveler.  His own special psionic ability was even rarer than the usual Psion.  He could not only use telepathy, but use the power of his “inner eye” to see and alter the molecular structure and overall organization in any finite piece of matter.  In other words, he could change lead into gold with the power of his mind alone.  To Gyro it was just a matter of pushing the funny little atomic balls into new configurations in the creative imaginings of his “inner eye”.

Being a Psion inside the borders of the Galactic Imperium, the so-called “Thousand Worlds”, was a dangerous enterprise.  The Imperials were so afraid of psionic powers and what they believed they could do, that having psionic power brought an immediate death sentence.  That was the reason that when Gyro and his family, and the boy named Billy Iowa, also a Psion, had to leave the Pan Galactican Union, they had journeyed to the distant world of Gaijin to find the master of Psionics, the White Spider, Ged Aero.  Sensei Ged Aero had taken in both boys, given them a home, and taught them how to master the powers of the “inner eye”.

So that was the reason that Gyro now sat on the planet Cornucopia beside a huge dead bug and pondered the possibilities of escape for himself and Billy.  Master Aero and his Little Mutant Space Ninjas had come as explorers to the planet, and run afoul of the living plants, the Throckpods who inhabited it.  As Gyro and Billy had been heading back to base camp, they were attacked by a large group of the ugly sentient flowers and their pet gargantuan dragonfly.  Billy, being a good student of Ged’s Martial Arts training, delivered a jump-kick to the chitinous face plate of the dragonfly that put a hole in it, driving his foot right into the thing’s syrupy brain tissue.  It dropped dead next to them as Throckpods moved menacingly around them in a huge circle of weed.

“We are totally cut off,” said Billy.  “And I think they mean to kill us.”

“They’re flowers!  Flowers can’t eat people… can they?” asked Gyro nervously.

“They are intelligent flowers.  How can you know what they eat and don’t eat?” asked Billy in return.  His Dakota Sioux features scrunched up into a frown.  “I am at the height of my power.  Let them come!  In a sacred manner I resist them until my very last breath!  It is a good day to die!”

Gyro eyes got wider.  It was a very Indian sort of thing for Billy to say, but Gyro didn’t really want to hear it.

“You give me a few minutes to think,” said Gyro, “and I will find a way out of this mess.”

Billy resolutely turned to frown at the approaching grove of ugly flowers.

Gyro looked all around, and finally settled on the dragonfly.  In some ways, the huge insect already resembled an anti-grav cycle.  It wouldn’t take very much manipulation to…  Gyro’s imagination started turning chitin into glass-steel.  The dragonfly’s bowels were easy to shape into a small fusion powered engine.  The blood only had to be separated to get the hydrogen necessary for fuel.  With a few pops and crackles and one big POOM, they had a working grav cycle.

As Throckpods started throwing thorns, and Billy swatted them out of the air with Wushu defensive strikes, Gyro revved the engine and pulled Billy onto the upholstered seat behind him.

“Time to bug out!” said Gyro with a huge blue grin.  The grav cycle immediately and silently lifted into the air on anti-grav repulsor lifts.  Then, with a roar, they zoomed skyward, not only out of the reach of Throckpods and thorns, but also out of reach from the devilish dragonflies that were swarming towards them from somewhere in the eastern sky.

“I guess it’s a good thing you can change stuff like that,” said Billy, holding tightly onto his Texas sombrero, “but if you had never made that stink-language translator, maybe we would’ve never got into this mess.”

“I don’t think the translator is the big problem,” said Gyro.  “These flowers seem to have an agenda that doesn’t include looking pretty and smelling nice.  I think they don’t like us as plant-eaters and potential invaders.  After all, this is their world.”

“Okay,” said Billy.  “Get us back to camp and Master Aero, and I’m all for leaving this dirtball to the plants!”

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