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liquid painting FRENCH ESCAPISM, scott richard

liquid painting FRENCH ESCAPISM, scott richard
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applying camera-learned visual techniques of light and shadows to painting created the whole concept of impressionism.

it was stolen from photography.

the age was pre-electric.
homes didn't have lights that flipped on and off, drenching the darkness with overhead glares.

instead, realizing that there is no true BLACK in nature's shadows, the camera simply wouldn't find its own ability to make it up and put it on the color chart.

in french escapism, black is used like an accent to mark/denote gravity and the weightiness of motion or the sticking point of a shadow.

but the use of darker grays that can shimmer with a warm tone or a cool tone are almost always valued more in the color palette's love affair with itself.

the use of gray as a mixing agent had given birth to a whole new way of imagining life.

and there are hundreds of painters from before monet who were exploring all of this avidly. they are the hidden artists that are being intentionally hidden at this point, like next year's netflix episode of your favorite show.

it's already wrapped and finished, but it's not released.

another thing in french escapism is the unrelenting use of class and leisure to dictate every aspect of the painting's suggestions -- peacefulness is imposed, restfulness is mandatory, contemplation is expected, feeling better is required.

and i love this because it's so PRE-ELECTRIC. there is the same wild longing that you can see if you're brave enough to read something light by the marquis de sade.

you don't have to read too much before you get this horrifying vision of the marquis' greatest fantasty -- to be a PORN DIRECTOR.

which means that he was REALLY FANTASIZING about moving imagery.

that's the truth!
he foresaw FILM AND VIDEO and dreamed about it, wrote his words like he was a porn director doing multiple fantasy sex shoots.

and it's INSANE.
there is a deep madness in his desire and longing for the FKING MOVIE IMAGERY RECORDING CAMERA DEVICE.

it's like he's wishing for a space alien.

or a rocket ship, but that was the equivalent intellectually at the time.

it was just out of reach, this fantasy machine that would record his PERSPECTIVE of the deviant human's fantasies.

so i'm trying to infuse these paintings with the same intensity with the titles i select to direct the viewer.

therefore, all the pieces take place in a landscape that is named after popular antipschotics and pharmaceutical drugs here in the united states.

the works are dedicated to the print industry which i have titled THE CHURCH OF MONET.

it is a massive industry.

these works are liquid paintings, which means that they get painted on like a movie until they reach a place where i'm 100% content with the storyline and what it has achieved throughout its lifetime.

the pieces, i've decided, when finished, will be attributed to torbakhopper.



in the furtherest extreme of FRENCH ESCAPISM, as a metaphor for the OVERDRUGGED pharmaceutical addicts in the UNITED STATES OF AMERICA where over HALF A MILLION PEOPLE HAVE BEEN FLAT OUT MURDERED BY DRUG DEALERS, the female children do not need arms.

it was decided in Lunesta that the absolute high point of civilization was a place of abject tranquility and peacefulness.

a sign of opulence, parents began to chop off their daughters' arms to demonstrate how civilized they were.

the absence of arms for all FEMALES demonstrated that the need for a woman to take care of herself was so outdated that she didn't even need arms.

women in Lunesta are fed and tended to by others.

such peace and luxury.

wake up, AMERICA!!!
wake THE FUCK UP!!!

FRENCH ESCAPISM and the BIRTH OF REALITY before reality catches up with itself


the last great american whale
lou reed

a PRIMAL awareness of invention means that more often than not, the ACTUAL invention comes decades after the IDEA of the invention is quite ordinary within a culture.

for example, the simple camera.

i think of the MARQUIS DE SADE.
he was a film maker.
oddly, there was no film back then.
he died in 1812.

but if you read his work,
he was making movies.

snuff films.
sex films.
horror films.
terror films.
science films.

his sht makes the SAW series and HOSTEL look like metaphoric disney films about marriage and love.

the MARQUIS DE SADE was dreaming in technicolor centuries before technicolor crawled out of the womb of electricity.

so we must admit that ACUTAL INVENTION Is hardly the BACKBONE OF INVENTION.

instead, isn’t it rather THE ATHENA of INVENTION?!

doesn’t it usually spring forth somehow fully developed?

isn’t that what ATHENA was supposed to be?

so with the camera, this also happened in france and other places.

the camera obscura had been a phenomenon that was available to some as early as the fifth century b.c.e.

and correct me if my presumptions are incorrect, but haven’t people been DREAMING in TECHNICOLOR since, well, like the dawn of any recorded human history?!??!

anyway, i guess it isn’t exactly common knowledge that the human condition is curtained.

curtaining is this collective constructioning that barrierizes communities and movements and thought pools and all manner of relational human interaction.

curtaining is an intentional and directed, but ever-changing and mostly uncontrollable attempt to keep “a collective whole” from imploding, exploding or extincting.

eugenics, for example.
or animal and human husbandry.
or good farming and dietary codes.

or urban development.
touristizing and tourizing are adjuncts, but also present more visibly and more prominently now than in past societies.

these impulses of control create the CURTAINING.
but eventually, the human rises up to REVISUALIZE the power of making the dream “real”. the curtain is questioned.
the curtainers are put under the spot light.

we hear this OVER AND OVER again in our product-distribution based society of waste and excess and choice and grade.

it is a constant haranguing, which, like the mosquito weapon (just wait until the BIG mosquito blows your ear drums out!! and you won’t believe whose going to try to sell you NEW ONES OMFG!!!!) can be blocked out by sheer subservience to TELEVISION PROGRAMMING.

seriously, i used to be able to hear the piercing whine of people’s television sets from 50 meters away. notice how we said things in "yards and pounds” back then.

it was the 70s in the united states and the true advent of the spreading television networks.

we had just met the metric system and were going, “wait, so is a paper clip like a gram or is a raisin like a gram?!?!”

we could’ve used THE DINNER SCHOOL back then.
it’s perfect for interpreting and giving meaning to exactly such meaningless abstract BS if you can’t literally learn to feel the difference by actual hands-on application & use.

make a fking cake if you want to learn the metric system.
see a GRAM with your own TWO eyes!!
learn to measure out a gram using all manner of substances.

that’s how people learn.
by touching and measuring and seeing and working through experience.

it’s so much less fun when one learns about grams because you’re paying 15$ per gram to get good weed.

even the most DELICIOUS cake is less than 10 cents per gram.

assuming your slice of cake weighs four ounces
you would end up with 112 grams.
can you imagine paying $1680 for a slice of cake??

that’s a lot of money.
those POT DEALERS are making a LOT of fking money. and with a 30% tax on that sht, where is that going?!?!

and VICEversa, those LUCKY people spending so much money on OVERINFLATED pot are getting COMPLETELY HIJACKED> and lucky at the same time!!!!

but seriously,
they’re economics are almost getting more hijacked than the people who bought AD SHAMPAIGN COMMERCIALS during the 2016 election run-up season.

unless it was intentional.
than it was just a highly manufactured coup de economics.

ah, such fun.

is this what we do with all our dreaming?

did the HUMAN have no greater range?
was this all the dream contained?

we just dream about being able to make moving imagery come to life and then the dream is over?

is it all just a MARK UP LANGUAGE issue?
with prettyoffs to the rescue?!


from 18 years ago...

last great american whale

“They say he didn't have an enemy
His was a greatness to behold
He was the last surviving progeny
The last one on this side of the world
He measured half a mile from tip to tail
silver and black with powerful fins
They say he could split a mountain in two
That's how we got the Grand Canyon
Some say they saw him at the Great Lakes
Some say they saw him off the coast of Florida
My mother said she saw him in Chinatown
but you can't always trust your mother.
Off the Carolinas the sun shines brightly in the day
The lighthouse glows ghostly there are night
The chief of a local tribe had killed a racist mayor's son
and he'd been on death row since 1958
The mayor's kid was a rowdy pig
spit on Indians and lots worse
The old chief buried a hatchet in his head
life compared to death for him seemed worse
The tribal brothers gathered in the lighthouse to sing
and tried to conjure up a storm or rain
The harbor parted and the great whale sprang full up
and caused a huge tidal wave
The wave crushed the jail and freed the chief
The tribe let out a roar
The whites were drowned
the browns and reds set free
but sadly one thing more
Some local yokel member of the NRA
kept a bazooka in his living room
and thinking he had the chief in his sights
blew the whale's brains out with a lead harpoon
Well Americans don't care for much of anything
land and water the least
And animal life is low on the totem pole
with human life not worth much more than infected yeast
Americans don't care too much for beauty
They'll shit in a river, dump battery acid in a stream
They'll watch dead rats wash up on the beach
and complain if they can't swim
They say things are done for the majority
Don't believe half of what you see
and none of what you hear
It's a lot like what my painter friend Donald said to me
"Stick a fork in their ass and turn them over, they're done”


liquid painting is an underexplored painting medium that is based on TRANSFORMATION and the journey is documented with a camera.

that is, a painting becomes like a movie and the photos of the movie are like clips from the reel.

i first started LIQUID PAINTING about five years ago. i was painting dahlias and was impressed by their basic architecture.

and then i wondered what it would be like if they exploded. and in turn, how a dahlia exploding could become a nonviolent metaphor for the life of a human.

but the drawback to this metaphoric interpretation was that it looks like endless wallpaper samples in every imaginable color palette ever created.

so it was good for that -- making every possible color combination in time and light with tones, shades and tints.

and almost no one works with the entire color spectrum inside every piece. this is because the whole color spectrum in every piece is a bit like a circus. it confuses the eye and makes it very difficult for the viewer to find a centralized focus.

after all, that is the PURPOSE of limited color palettes.

commercialism knows this better than anyone these days.

in an attempt to explain these sorts of things to my best friend (who really never listens much to me at all -- which is wonderful, albeit frustrating in rare moments), i gave up with words and started to just make paintings.

we'd just been to a monet show at the legion of honors and i was trying to explain how so many ideas people had about IMPRESSIONISM was based on criticism and not experience.

for example, most people don't understand how much PHOTOGRAPHY and the camera obscura had affected people's ways of seeing.

i'll post that essay down below so as not to have to repeat it all here.

suffice it to say that the dagguerreotype had left the painter with two realities that couldn't be ignored:

the first -- the deletion TECHNIQUE

the second -- there is no black in reality.

the first technique liberated the painter's eye from FAITHFULNESS to actuality.

it allowed the SUGGESTION of something to be something. APERTURES could only focus on select objects.

painters had never explored this before in their work.

suddenly the idea of a tree was more powerful than the most PERFECTLY REVEALED tree.
and this was mad crazy and powerful.

i have started a BANNER STYLE form of photography that explores this concept.


beyonvisibility uses the banner length of the horizontal image to create collages of related subject matter.

for example, GENTRIFICATION in san francisco is like a war. you can't see this in single photos. but when you see the work sites from multiple vantage points, the reality of something and what's in between in it time and space becomes correlated to MEANING.

and that is the power of the camera. it is a WEAPON of surveillance and perspective.

sidenote -- this is EXACTLY why cops with bodycams is not a great idea.

the SINGLE POINT OF VIEW PERSPECTIVE is literally incredibly fking deceptive.


it's a total hoax.

anyway, those were the two gifts of the camera that transformed painting.

no one really jumped into the philosophy or gave much credit to the camera.

but it was the camera that MADE IMPRESSIONISM.

and as i was drawing my IMPRESSIONS of impressionism, i realized that there were deeper underlying tenets that also gave credence to impressionism.

the first one was a PRE-ELECTRIC world.
the advent and access of/to electricity changed the world.

but before this change, the impressionists, who were desperately trying to get their work into the homes of the rich and famous (aren't we all!), figured out that the brighter the light on a painting was, the better it could look inside a non-lit interior home space.

so it was FUNDAMENTALLY a sales tactic to brighten and lighten indoor spaces.

and what sells with these conditions?


and this is the big secret.

it dawned on me quite naturally in the process of trying to STORYTELL the color issues.

and just so you know, the color issues are about TONES.

before the impressionist era no wide school of art had realized just how many millions of new pixels you could get if you mixed different shades of gray with prima chroma.

take a very white gray and mix it with a hint of yellow or brown and your sky will light up like it was on fire.

if you just use white and the prima chroma, you'll get a tint, which will never feel ELECTRIC like a a prima chroma that is mixed with a TONE.

anyway, the cinematic quality of storytelling with people and an imaginary land where it never gets cold and women can walk around anywhere they want at any time of day without being raped or harmed or affected by male monsterness gave way to the birth of the Dopaquel Peninsula.

the Dopaquel Peninsula is the land of antipsychotic tranquility.

all the villages and landmarks and rivers and places are named after popular antipsychotics.

Date: 2017-11-09 21:57:54

torbakhopper san francisco california city street photographer scottrichard SF scottrichardphotographer SFMET scott richard art artist painting painter liquidpainting liquid scottrichardpainter scottrichardartist scottrichardart scottrichardpainting FRENCHESCAPISM french escapism DopaquelPeninsula Dopaquel Peninsula antipsychotic medz drugs fantasy peace idyll escape retreat pre-electric world tourism leisure rest ideal village countryside CLEAN AIR LAND WATER FOOD PEOPLE education model curriculum educational model model schooling

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