#personalvisions — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #personalvisions, aggregated by home.social.
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MEMORY OF A DISTANT SEA (1999)
Acrylic on Canvas - 20” x 16”Whenever someone asked me what I do for myself, up until 1987 my answer was always my illustration because that’s what I chose to do. That’s all I envisioned myself doing, but something happened. 1/3
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MEMORY OF A DISTANT SEA (1999)
Acrylic on Canvas - 20” x 16”Whenever someone asked me what I do for myself, up until 1987 my answer was always my illustration because that’s what I chose to do. That’s all I envisioned myself doing, but something happened. 1/3
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MEMORY OF A DISTANT SEA (1999)
Acrylic on Canvas - 20” x 16”Whenever someone asked me what I do for myself, up until 1987 my answer was always my illustration because that’s what I chose to do. That’s all I envisioned myself doing, but something happened. 1/3
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MEMORY OF A DISTANT SEA (1999)
Acrylic on Canvas - 20” x 16”Whenever someone asked me what I do for myself, up until 1987 my answer was always my illustration because that’s what I chose to do. That’s all I envisioned myself doing, but something happened. 1/3
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THE CROSSING (1997)
Oil on Canvas - 30” X 60”The uncertainty of and inescapable attraction to the concept of life after death. 1/2
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THE CROSSING (1997)
Oil on Canvas - 30” X 60”The uncertainty of and inescapable attraction to the concept of life after death. 1/2
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THE CROSSING (1997)
Oil on Canvas - 30” X 60”The uncertainty of and inescapable attraction to the concept of life after death. 1/2
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THE CROSSING (1997)
Oil on Canvas - 30” X 60”The uncertainty of and inescapable attraction to the concept of life after death. 1/2
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PASSAGE: THE RAINBOW (1991)
Acrylic on Canvas - 36” X 48”The surface meaning of my Passage paintings is technical—it signifies a passage from working nearly exclusively in acrylics to attaining a greater technical flexibility in oils. 1/2
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PASSAGE: THE RAINBOW (1991)
Acrylic on Canvas - 36” X 48”The surface meaning of my Passage paintings is technical—it signifies a passage from working nearly exclusively in acrylics to attaining a greater technical flexibility in oils. 1/2
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PASSAGE: THE RAINBOW (1991)
Acrylic on Canvas - 36” X 48”The surface meaning of my Passage paintings is technical—it signifies a passage from working nearly exclusively in acrylics to attaining a greater technical flexibility in oils. 1/2
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PASSAGE: THE RAINBOW (1991)
Acrylic on Canvas - 36” X 48”The surface meaning of my Passage paintings is technical—it signifies a passage from working nearly exclusively in acrylics to attaining a greater technical flexibility in oils. 1/2
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AFTERNOON SHADOWS (2006)
Acrylic on Panel - 12” x 9”Dedicated to my beloved mother-in-law Pat Larsen. “Mum” will never be forgotten.
Inspired by a ruined abbey I saw on the coast of England, this study is an exploration of feelings about the inevitability of time. 1/2
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AFTERNOON SHADOWS (2006)
Acrylic on Panel - 12” x 9”Dedicated to my beloved mother-in-law Pat Larsen. “Mum” will never be forgotten.
Inspired by a ruined abbey I saw on the coast of England, this study is an exploration of feelings about the inevitability of time. 1/2
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AFTERNOON SHADOWS (2006)
Acrylic on Panel - 12” x 9”Dedicated to my beloved mother-in-law Pat Larsen. “Mum” will never be forgotten.
Inspired by a ruined abbey I saw on the coast of England, this study is an exploration of feelings about the inevitability of time. 1/2
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AFTERNOON SHADOWS (2006)
Acrylic on Panel - 12” x 9”Dedicated to my beloved mother-in-law Pat Larsen. “Mum” will never be forgotten.
Inspired by a ruined abbey I saw on the coast of England, this study is an exploration of feelings about the inevitability of time. 1/2
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GENTLENESS (1997)
Acrylic on Canvas - 11" x 13"Not a classical Virtue, but based on observing my young son with our aging family cat. It's how I hope we'll care for all the earth's creatures.
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THE BIG QUESTION (2007)
Acrylic on Canvas - 60" X 48"I've done a number of paintings which have taken their symbolic cues from letter forms. EYE is one example (eye = "I"). As with many of my works, this one employs light as a symbol of knowledge and affirmation. 1/3
#personalvisions #imaginativerealism #fineart #stanleykubrick
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WAVE (1994)
Acrylic on Canvas - 48" x 48"Of all the paintings hanging in my home, this one probably elicits the most comments. It's also a good example of why I am reluctant to say too much about my work. 1/3
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THE END OF NATURE VII (2005)
Acrylic on Panel - 25" x 40"Up until this point in my End of Nature series, I had portrayed the people who represent humanity in general as somewhat oblivious to the support that nature was providing for them. 1/2
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PIPEDREAM (2008)
Acrylic - 20" x 30"Most days I take a walk in the late afternoon to clear my head and stretch my legs. Sometimes I come across trash thrown in a field or left in a parking lot and I get annoyed thinking about how thoughtless people can be. 1/5
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RETROSPECTION (2006)
Acrylic on Panel - 5" x 7"Here we see our "everywoman" seeking guidance amid the debris of lost values from an earlier age. With retrospection she will be able to find her way to the future through the gateway of the past.
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LUMEN 4 (1997)
Acrylic on Canvas - 48" X 36"“Lumen” is a word with multiple meanings (light, cavity, window) and all the paintings in this series deliberately make use of them. 1/2
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CHAINS OF THE SEA (2018)
Acrylic on Canvas - 12" x 16"A small study for a larger planned painting that never happened. I began working on this at the same time as the cover for Words of Radiance back in 2013. 1/3
#personalvisions #imaginativerealism #leftoversandpalettegremlins
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PASSAGE: THE RAINBOW (1991)
Acrylic on Canvas - 36" X 48"The surface meaning of my Passage paintings is technical—it signifies a passage from working nearly exclusively in acrylics to attaining a greater technical flexibility in oils. 1/2
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GRAVITY (2002)
Acrylic on Canvas - 35" x 43"Once when I was being sedated for surgery and I was counting backwards, “99, 98, ...” I felt this surge of irresistible calm sweep over me like a vast tide of night. While I floated away, I felt myself become totally, completely relaxed. 1/3
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PATH (2016)
Acrylic on Panel - 12" x 16"This painting featuring my granddaughter Seren was done for the inaugural Leftovers and Palette Gremlins gallery. Every week I set out to complete a small piece inspired by paint marks or other found patterns. 1/3
#personalvisions #imaginativerealism #leftoversandpalettegremlins
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RIMRUNNER (2011)
Oil - 18” x 28”A painting in The End of Nature subset of my personal work, which represents humanity as somewhat oblivious to the support that nature provides for them. 1/2
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ISLAND (2007)
Acrylic on Panel - 30" x 40"Only by cutting our ties to our “island” can we discover what lies beyond. 1/2
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PRUDENCE (1996)
Acrylic on Panel - 12" x 11"The classical notion of Prudence is an important theme to me, as it was to the ancient Greeks. 1/2
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SUNFLOWER (2010)
Acrylic on Panel - 12" x 18"It's her sanctuary...an echo of something I experienced when I was younger.
Anyone familiar with my work will know how much I’m drawn to concrete. Images like this pop into my head at unexpected times. 1/2
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THE END OF NATURE (1998)
Acrylic on Gessoboard - 28" x 22"The first in what became a series of paintings about our relationship with nature. 1/2
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THE REACH (1999)
Acrylic on Canvas - 48" x 30"Almost a Lumen painting, in which figures are trying to work their way out of enclosed spaces and get into the light. 1/2
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UNWINDING (2021)
Acrylic on Gessobord - 10" x 11 ½”The paintings in The End of Nature series are concerned with our relationship to the environment and how we need to care for it. Here, the young boy takes a moment to just enjoy it. 1/3
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THE DIVINING HEART (2005)
Acrylic on Canvas - 36" x 24""Stepping stones" of ammonite fossils represent the lessons of history and are the only havens of safety for the figure in the foreground. 1/2
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GLIMPSE (1992)
Acrylic on Canvas - 48" x 36"I think this is the first time I used the red glass heart as a symbol for the immediate and/or material possessions. 1/2
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EDGEDANCER (2002)
Acrylic on Gessoboard - 28" x 22"A cautionary, “All good things come to an end...”
While she dances away her day, the ground which supports her erodes into nothingness.
https://www.michaelwhelan.com/galleries/edgedancer/
#personalvisions #imaginativerealism #fineart #theendofnature
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EDGEDANCER (2002)
Acrylic on Gessoboard - 28" x 22"A cautionary, “All good things come to an end...”
While she dances away her day, the ground which supports her erodes into nothingness.
https://www.michaelwhelan.com/galleries/edgedancer/
#personalvisions #imaginativerealism #fineart #theendofnature
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EDGEDANCER (2002)
Acrylic on Gessoboard - 28" x 22"A cautionary, “All good things come to an end...”
While she dances away her day, the ground which supports her erodes into nothingness.
https://www.michaelwhelan.com/galleries/edgedancer/
#personalvisions #imaginativerealism #fineart #theendofnature
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EDGEDANCER (2002)
Acrylic on Gessoboard - 28" x 22"A cautionary, “All good things come to an end...”
While she dances away her day, the ground which supports her erodes into nothingness.
https://www.michaelwhelan.com/galleries/edgedancer/
#personalvisions #imaginativerealism #fineart #theendofnature
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EDGEDANCER (2002)
Acrylic on Gessoboard - 28" x 22"A cautionary, “All good things come to an end...”
While she dances away her day, the ground which supports her erodes into nothingness.
https://www.michaelwhelan.com/galleries/edgedancer/
#personalvisions #imaginativerealism #fineart #theendofnature
-
THE CROSSING (1997)
Oil on Canvas - 30" X 60"The uncertainty of and inescapable attraction to the concept of life after death.
All of my Passage works use the dream-object of the lighted bubbles—symbols of spirit or unfettered consciousness—to convey the idea of movement from one state of mind to another, a transition to a more open and lighted place; a release.
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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 his Passage series that I would paint in oils. 1/3
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FLOWERS AND WEEDS (1997)
Acrylic on Canvas - 36" X 48"When my son Adrian was 3 or 4 years old, we used to go to an abandoned construction site where there were huge slabs of concrete embedded with iron reinforcing rods. 1/4
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CW: Artistic nudity
CAUSEWAY (1992)
Oil on Canvas - 48" X 36"The colors came from a foggy morning walk at a reservoir near my home.
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ASYLUM (2001)
Acrylic On Panel - 22" x 28"Another double entendre title—for "asylum" can infer both confinement and security. But is she really attaining both?
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THE MAD POET (1982)
Acrylic on Watercolor Board - 12 ½" x 17 ½"Since its inclusion in the back matter of THE ART OF MICHAEL WHELAN, this small painting has elicited a strong response from fans. 1/2
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LUMEN 6 (1999)
Acrylic on Panel - 32" x 32"Looking for the way to the light, a moment of discovery at last. 1/2
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EMPIRE OF DREAMS (2005)
Acrylic on Gessoboard - 28" x 22"A world of concrete works in disarray, thrown about by some unknown cataclysm. 1/3
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CW: Artistic nudity
KAIROS (2007)
Acrylic - 24" x 36"I didn't want to just call this PRUDENCE 3, so I looked all over for a word that captured the idea of the painting and KAIROS is the only one that fit.