#personalvisions — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #personalvisions, aggregated by home.social.
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WING (1992)
Acrylic on Canvas -42" X 60"I was the Artist Guest of Honor of the Australian National Science Fiction Convention in Sydney in 1992. After the convention, my family and I spent some time traveling around the country. ¼
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WING (1992)
Acrylic on Canvas -42" X 60"I was the Artist Guest of Honor of the Australian National Science Fiction Convention in Sydney in 1992. After the convention, my family and I spent some time traveling around the country. ¼
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WING (1992)
Acrylic on Canvas -42" X 60"I was the Artist Guest of Honor of the Australian National Science Fiction Convention in Sydney in 1992. After the convention, my family and I spent some time traveling around the country. ¼
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WING (1992)
Acrylic on Canvas -42" X 60"I was the Artist Guest of Honor of the Australian National Science Fiction Convention in Sydney in 1992. After the convention, my family and I spent some time traveling around the country. ¼
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EQUANIMITY (2000)
Oil on Panel - 12” x 9”As with so many others, this is a virtue I feel a lack of in my own life. The figure is meditating that equanimity is found in the contemplation of the fullness of time. 1/2
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EQUANIMITY (2000)
Oil on Panel - 12” x 9”As with so many others, this is a virtue I feel a lack of in my own life. The figure is meditating that equanimity is found in the contemplation of the fullness of time. 1/2
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EQUANIMITY (2000)
Oil on Panel - 12” x 9”As with so many others, this is a virtue I feel a lack of in my own life. The figure is meditating that equanimity is found in the contemplation of the fullness of time. 1/2
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EQUANIMITY (2000)
Oil on Panel - 12” x 9”As with so many others, this is a virtue I feel a lack of in my own life. The figure is meditating that equanimity is found in the contemplation of the fullness of time. 1/2
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WIDE (1992)
Oil on Canvas - 20” x 48”As with OPEN, I was working to establish the connecting points between my Passage paintings and this new series, before I went on to define the new themes in their entirety.
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WIDE (1992)
Oil on Canvas - 20” x 48”As with OPEN, I was working to establish the connecting points between my Passage paintings and this new series, before I went on to define the new themes in their entirety.
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WIDE (1992)
Oil on Canvas - 20” x 48”As with OPEN, I was working to establish the connecting points between my Passage paintings and this new series, before I went on to define the new themes in their entirety.
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WIDE (1992)
Oil on Canvas - 20” x 48”As with OPEN, I was working to establish the connecting points between my Passage paintings and this new series, before I went on to define the new themes in their entirety.
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PASSAGE: VERGE (1989)
Acrylic on Canvas - 48" X 36"There are other, more metaphysical meanings to be derived from this painting, but at the time I was doing it I had decided to "step off the brink," professionally speaking. 1/2
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PASSAGE: VERGE (1989)
Acrylic on Canvas - 48" X 36"There are other, more metaphysical meanings to be derived from this painting, but at the time I was doing it I had decided to "step off the brink," professionally speaking. 1/2
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PASSAGE: VERGE (1989)
Acrylic on Canvas - 48" X 36"There are other, more metaphysical meanings to be derived from this painting, but at the time I was doing it I had decided to "step off the brink," professionally speaking. 1/2
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PASSAGE: VERGE (1989)
Acrylic on Canvas - 48" X 36"There are other, more metaphysical meanings to be derived from this painting, but at the time I was doing it I had decided to "step off the brink," professionally speaking. 1/2
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SENTINELS (1988)
Acrylic on Canvas - 22” x 33”After more than a decade of continuous illustration work, this was my first non-commissioned painting. Who can resist imagining a peaceful world where children are enjoying nature and the symbols of war are falling into ruin? 1/6
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SENTINELS (1988)
Acrylic on Canvas - 22” x 33”After more than a decade of continuous illustration work, this was my first non-commissioned painting. Who can resist imagining a peaceful world where children are enjoying nature and the symbols of war are falling into ruin? 1/6
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SENTINELS (1988)
Acrylic on Canvas - 22” x 33”After more than a decade of continuous illustration work, this was my first non-commissioned painting. Who can resist imagining a peaceful world where children are enjoying nature and the symbols of war are falling into ruin? 1/6
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SENTINELS (1988)
Acrylic on Canvas - 22” x 33”After more than a decade of continuous illustration work, this was my first non-commissioned painting. Who can resist imagining a peaceful world where children are enjoying nature and the symbols of war are falling into ruin? 1/6
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CW: Artistic Nudity
PRUDENCE II (1997)
Acrylic on Watercolor Board - 12” x 13”Another take on what the ancient Greeks called "the Queen of the Virtues." The one most essential to our collective future, yet the one least evident in human affairs.
The red glass heart represents the lures of the material world, passion and the senses...which all too often drown out logical thinking and wise decisions.
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CW: Artistic Nudity
PRUDENCE II (1997)
Acrylic on Watercolor Board - 12” x 13”Another take on what the ancient Greeks called "the Queen of the Virtues." The one most essential to our collective future, yet the one least evident in human affairs.
The red glass heart represents the lures of the material world, passion and the senses...which all too often drown out logical thinking and wise decisions.
-
CW: Artistic Nudity
PRUDENCE II (1997)
Acrylic on Watercolor Board - 12” x 13”Another take on what the ancient Greeks called "the Queen of the Virtues." The one most essential to our collective future, yet the one least evident in human affairs.
The red glass heart represents the lures of the material world, passion and the senses...which all too often drown out logical thinking and wise decisions.
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CW: Artistic Nudity
PRUDENCE II (1997)
Acrylic on Watercolor Board - 12” x 13”Another take on what the ancient Greeks called "the Queen of the Virtues." The one most essential to our collective future, yet the one least evident in human affairs.
The red glass heart represents the lures of the material world, passion and the senses...which all too often drown out logical thinking and wise decisions.
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DOORWAY TO THE WEST (2006)
Acrylic on Panel - 12” x 9”Another search for the light. Creating the illusion of texture in paint, the process of actually painting it, can be an act of meditation. If it were not so, the painting of all those rocks would be torture, especially for someone like me with an impatient nature.
https://www.michaelwhelan.com/galleries/doorway-to-the-west/
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DOORWAY TO THE WEST (2006)
Acrylic on Panel - 12” x 9”Another search for the light. Creating the illusion of texture in paint, the process of actually painting it, can be an act of meditation. If it were not so, the painting of all those rocks would be torture, especially for someone like me with an impatient nature.
https://www.michaelwhelan.com/galleries/doorway-to-the-west/
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DOORWAY TO THE WEST (2006)
Acrylic on Panel - 12” x 9”Another search for the light. Creating the illusion of texture in paint, the process of actually painting it, can be an act of meditation. If it were not so, the painting of all those rocks would be torture, especially for someone like me with an impatient nature.
https://www.michaelwhelan.com/galleries/doorway-to-the-west/
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DOORWAY TO THE WEST (2006)
Acrylic on Panel - 12” x 9”Another search for the light. Creating the illusion of texture in paint, the process of actually painting it, can be an act of meditation. If it were not so, the painting of all those rocks would be torture, especially for someone like me with an impatient nature.
https://www.michaelwhelan.com/galleries/doorway-to-the-west/
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LANDING (2004)
Acrylic on Panel - 30" x 24"This piece was born of a digital image from PASSAGE TO SANCTUARY, a series of three limited edition prints produced by Mithril Publishing in 1994. 1/4
#personalvisions #imaginativerealism #fineart #passagetosanctuary
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LANDING (2004)
Acrylic on Panel - 30" x 24"This piece was born of a digital image from PASSAGE TO SANCTUARY, a series of three limited edition prints produced by Mithril Publishing in 1994. 1/4
#personalvisions #imaginativerealism #fineart #passagetosanctuary
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LANDING (2004)
Acrylic on Panel - 30" x 24"This piece was born of a digital image from PASSAGE TO SANCTUARY, a series of three limited edition prints produced by Mithril Publishing in 1994. 1/4
#personalvisions #imaginativerealism #fineart #passagetosanctuary
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LANDING (2004)
Acrylic on Panel - 30" x 24"This piece was born of a digital image from PASSAGE TO SANCTUARY, a series of three limited edition prints produced by Mithril Publishing in 1994. 1/4
#personalvisions #imaginativerealism #fineart #passagetosanctuary
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HIGHGATE MIST (2010)
Acrylic - 10” x 8”Looking for sketching subjects, I started to seek out sculptures of angels and enjoyed using them as models. 1/2
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HIGHGATE MIST (2010)
Acrylic - 10” x 8”Looking for sketching subjects, I started to seek out sculptures of angels and enjoyed using them as models. 1/2
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HIGHGATE MIST (2010)
Acrylic - 10” x 8”Looking for sketching subjects, I started to seek out sculptures of angels and enjoyed using them as models. 1/2
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HIGHGATE MIST (2010)
Acrylic - 10” x 8”Looking for sketching subjects, I started to seek out sculptures of angels and enjoyed using them as models. 1/2
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LUMEN 6.2 (2001)
Oil on Canvas - 48” x 42”From an idea I had been carrying around in my head since the late '70s.
“Lumen” is a word with multiple meanings (light, cavity, window) and all the paintings in this series deliberately make use of them. In each one, there is a figure struggling to reach the light, seemingly trapped in a closed-in space by insurmountable obstacles.
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LUMEN 6.2 (2001)
Oil on Canvas - 48” x 42”From an idea I had been carrying around in my head since the late '70s.
“Lumen” is a word with multiple meanings (light, cavity, window) and all the paintings in this series deliberately make use of them. In each one, there is a figure struggling to reach the light, seemingly trapped in a closed-in space by insurmountable obstacles.
-
LUMEN 6.2 (2001)
Oil on Canvas - 48” x 42”From an idea I had been carrying around in my head since the late '70s.
“Lumen” is a word with multiple meanings (light, cavity, window) and all the paintings in this series deliberately make use of them. In each one, there is a figure struggling to reach the light, seemingly trapped in a closed-in space by insurmountable obstacles.
-
LUMEN 6.2 (2001)
Oil on Canvas - 48” x 42”From an idea I had been carrying around in my head since the late '70s.
“Lumen” is a word with multiple meanings (light, cavity, window) and all the paintings in this series deliberately make use of them. In each one, there is a figure struggling to reach the light, seemingly trapped in a closed-in space by insurmountable obstacles.
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FREEFALL (2001)
Acrylic on Panel - 12” x 12”Another small reflection in the “Faded Star” series of my gallery work.
Like LEAP OF FAITH, this was a visual representation of the unease and excitement I felt at jumping into fine art painting with the barest of lifelines to sustain me.
https://www.michaelwhelan.com/galleries/freefall/
#art #fineart #personalvisions #imaginativerealism#fadedstar
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FREEFALL (2001)
Acrylic on Panel - 12” x 12”Another small reflection in the “Faded Star” series of my gallery work.
Like LEAP OF FAITH, this was a visual representation of the unease and excitement I felt at jumping into fine art painting with the barest of lifelines to sustain me.
https://www.michaelwhelan.com/galleries/freefall/
#art #fineart #personalvisions #imaginativerealism#fadedstar
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FREEFALL (2001)
Acrylic on Panel - 12” x 12”Another small reflection in the “Faded Star” series of my gallery work.
Like LEAP OF FAITH, this was a visual representation of the unease and excitement I felt at jumping into fine art painting with the barest of lifelines to sustain me.
https://www.michaelwhelan.com/galleries/freefall/
#art #fineart #personalvisions #imaginativerealism#fadedstar
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FREEFALL (2001)
Acrylic on Panel - 12” x 12”Another small reflection in the “Faded Star” series of my gallery work.
Like LEAP OF FAITH, this was a visual representation of the unease and excitement I felt at jumping into fine art painting with the barest of lifelines to sustain me.
https://www.michaelwhelan.com/galleries/freefall/
#art #fineart #personalvisions #imaginativerealism#fadedstar
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OUT OF THE SHADOWS (2014)
Acrylic on Panel - 12” x 24”With this painting I revisit themes developed in my "Passage" series, featured heavily in my first couple of one-man shows at the Tree’s Place gallery. 1/3
#fineart #personalvisions #imaginativerealism #passage #fadedstar
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OUT OF THE SHADOWS (2014)
Acrylic on Panel - 12” x 24”With this painting I revisit themes developed in my "Passage" series, featured heavily in my first couple of one-man shows at the Tree’s Place gallery. 1/3
#fineart #personalvisions #imaginativerealism #passage #fadedstar
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OUT OF THE SHADOWS (2014)
Acrylic on Panel - 12” x 24”With this painting I revisit themes developed in my "Passage" series, featured heavily in my first couple of one-man shows at the Tree’s Place gallery. 1/3
#fineart #personalvisions #imaginativerealism #passage #fadedstar
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OUT OF THE SHADOWS (2014)
Acrylic on Panel - 12” x 24”With this painting I revisit themes developed in my "Passage" series, featured heavily in my first couple of one-man shows at the Tree’s Place gallery. 1/3
#fineart #personalvisions #imaginativerealism #passage #fadedstar
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THE LEAVETAKING (1992)
Oil on Canvas - 18" x 48"I planned for this to be a large "preliminary" for a new work in my Passage series that I would paint in oils. 1/3
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THE LEAVETAKING (1992)
Oil on Canvas - 18" x 48"I planned for this to be a large "preliminary" for a new work in my Passage series that I would paint in oils. 1/3