THE STEIN REUSCH WEBER CONCEPT
and paintings signed SRW
Also called "the Spring BI approach" to art
[this completely replaces an earlier text,
after considerable more exploration and study,
where in some sense I have 'gone back to the roots']

Next two are sketches -- not paintings, but sketches 
(one previously released within a G15 curveart 
screensaver, disk L, card 35, so it says 'L35', and
the other as startup-image to the G15 FDB program,
which it announces as 'elegant simplicity', which it
is. Both are done in the Curveart digital sketch tool 
made in the G15 programming language by same artist) 
that can lead to paintings. The paintings themselves 
aren't reproduced here because we rather want them to 
be seen in real life: the computer monitor has its own 
idea about colors, and paintings in the real world is a
completely different type of colors, and one cannot
pretend that the computer can imitate them. But watch 
the sketches, then, if you like, read the text, and 
I think the idea will come across.


























THE STEIN REUSCH WEBER CONCEPT OF ART
The concept of art I will propose is of course not my
concept at all. So when I pompously say 'Stein Reusch
Weber concept of art', I do not mean invention, nor
possession, but rather, I wish to say: this is the ripe
fruit of a lot of exploration, this is what I put my
name to, and stand by, and will continue to do so, it
surely seems; also, I wish to say: there are other
concepts of art than this, which is the ripe form of
what I previously have explored various versions of, also
under the slogan of BI Spring art.
  In that case, B and I meant Black Impressionism, for I
wished to emphasize that one can get the fullness of
expression of a certain type by engaging in use of black.
I have the point of view that at the computer, artistic
expression engaging in sharp contrast is eminently right,
and continues to be so also when one goes both to
practical drawings and to 'the cartoon dimension', what
in G15 is called Curveart games, vaguely related to some
forms of socalled 'manga'.
  At the computer, the 'spring' notion connects to the
idea that the summer spring has the bright light
optimistic green of the young sprouts of many types of
plants enjoying the Sun; and this is the very same green
that both psychologically and spiritually by, I think,
most if not all of those who have really explored the
theme deeply, is preferred for wholesome creative PC work.
And then, naturally, I wished to expand BI Spring at the
PC to the canvas, somehow: and there was no straight way
to do so.
  For green when painted, as also W Kandinsky pointed out,
in a book early in the 20th century, isn't nearly as
incisive as green light. The substance green isn't always
easy, as chemical, to put on something that is to be on
a wall. BI Spring when it comes to painting, then, may
have to go beyond this color.
  Those who I regard as in some way mentors, though none
of them gurus, of course, have all exhibited mastery in
a field, and I have had the luck to have had much contact
with several, even in a sense many. I hope I am worthy in
bringing on what I have been taught.
  Without question, I have blended, here and there, what
I have picked up from my various mentors, in various
fields. When it comes to the field of painting, I have
met many painters, but the one that clearly has influenced
me much -- also in terms of the possibly hundreds of hours
spent philosophising over art in his atelier -- is the
fairly influential Norwegian painter Frans Widerberg.
For long after the first series of conversations were
completed, I spent more time doing computer works, and
when I picked up the brush and paint, I felt like doing
something, though inspired by him, didn't go as far in
vivid use of all three goethian elementary colors as
he did: the yellow -- as Widerberg terms 'energy' -- the
red -- as Widerberg terms 'matter' -- and the blue -- as
the latter speaks of as deep space.
  I also liked to explore, not just the sharper contrast
of black against something vivid like bright green, but
also dance in a field of graviation where gravitationless-
ness is achieved in glimpses through the mastery of the
dancer, rather than by an actual transferrence of the
scenery to auric space.
  Having reached more the completion of many forms of
the first forms of computation, in the G15 Cpu platform,
I feel that the sum total of all paintings done before,
by me, aren't matching up to the fullness of energy that
I feel naturally can be wanted outside of the computer,
in the real world. Perhaps I wanted freedom to concentrate
on programming; now I want to see the paintings shine
with the space, and deep blue, and vivid auric goethian
colors where the root-teachings of master Widerberg comes
into consciousness again. However, dance has given me a
sense of interaction between the shapely feet of a slender
dancer girl, and gravitation. The also butoh-inspired
Norwegian maestro I also has been so lucky as to have
photographed some times, the dancer Monica Emilie Herstad,
has a philosophical sense of dance unusual to find in most
professional textbooks on dance. A number of conversations
over a prolonged time makes me want to include her in the
list of mentors. And I feel that, if there is something
I can contribute with, which is new in the 'SRW' signature
-- it is that nothing that comes from my hands is
without dance, however pompeous it may be to say it.

* * *
























Want to see some of them on the computer 
after all?

The following photos of SRW's paintings from
atelier 2014 convey only very approximately 
the exact colors. The choice of acryllic is
twofold: [1] it allows a togetherness with
the paintings while other activities goes on,
so that one can work and rework the paintings
the following days as a tight process. While
they do not provide automatically the shine of
oil colors, there is the challenge to create
by painting that shine, instead of getting it
through its chemistry. [2] it allows paintings
to be finished faster, and thus at somewhat
greater quantity and at a lower price than 
that typically associated with oil paintings, 
while not going to that lower standard of 
expression which litographical printing usually
involves. In that sense, something in between
oil painting and litographical printing 'for
the masses' is achieved, which is perhaps at
least as first-hand as oil painting.
  
The two canvas types here chosen are, for the 
smaller ones, traditional canvas type, and for 
the larger ones, a wooden fiber plate. Sizes
are indicated in the jpeg photo files. [The
first is but a translated comment from a
Norwegian teacher of the young Edward Munch,
hanging as a kind of poster in the atelier.]



photo 1


photo 2


photo 3


photo 4


photo 5


photo 6


photo 7









Images on this page copyright Stein Reusch Weber