field

Watercolor commissions I did for a wedding theme around Mediterrano and Provence, here are a fisherman on his little sail boat, and a typical house within the lavender fields in Provence

This is a watercolor of the shepherds in their fields.

Only just some more white dots on the blue and then the animals then a signature then the finishing gloss then let it dry and ship out after getting paid of course

Acrylic painting 24 x 30

I highly recommend the book, Gender and Competition: How Men and Women Approach Work and Play Differently, by Kathleen J. DeBoer. In it, among other things, she elucidates that those with a conceptually masculine perspective (regardless of sex) are drawn to thinking of the world in hierarchies, which I have represented here with a triangle in the mind of the spotter on the left. She elaborates that those with a conceptually feminine perspective (again, regardless of sex) are draw to thinking of the world in webs, which I have represented here with a circle. Those that think more masculine-ly are more likely to expect beginners in a sport or field to prove themselves in the group. They will often not "hold their punches" (i.e. curb their ability) to make newcomers comfortable. All members of the group are expected to "earn their keep," in a sense. When a member of the group exceeds expectations, they move up in the hierarchy. Contrary to that, those that think more feminine-ly likely show acceptance and approval to beginners in order to foster an environment in which they will perform. They will often adjust their skills so that newcomers can more readily "keep up." When a member of the group exceeds expectations, they are expected to raise the status of the group as a whole. The playing field is "flattened" in that sense. I am not advocating for either perspective, but I will share that I have a more conceptually feminine perspective, and that I have previously left groups whose members have a more masculine perspective. Kathleen's book really helped me personally to understand the motivations of people that I genuinely did not understand prior to reading the book. It put a lot into perspective for me, and I hold fewer grudges these days. Cheers, fam~

Sketch of a woman surrouned by lavender at sunset , very cheesy

Doodling of the Day

Graphite, colored pencil, on paper. 2023 Continuous line drawings within the field. Hope you enjoy!

For a long time, I always misheard the lyrics in the song ‘Torn Green Velvet Eyes’ by The Magnetic Fields as ‘Tom Green Velvet Eyes’… told myself that one day I’d draw something inspired by this mishearing of things and well, here you go!

Painting practice with textures in acrylic

The materials that Meir uses in her works are not of the refined and so she is called an “arte povere” artist. At times she describes her work as someone dealing in alchemy - work develops as in a trial laboratory with different techniques and materials. She says, “ at times the artistic work process is a sort of puzzle demanding the filling in of all the empty squares “. Some of her work focuses on women, and they incorporate criticism and cultural protest. Meir has strong opinions about recycling and environmental protection that is represented in her works by use of materials and shapes. In her work she reacts to contemporary art that communicates with the eco system, waste, and she also searches for different worlds. Her works are made up of layers upon colorful layers that when we look at them it becomes clear that the mound of waste she chose is not coincidental. It actually becomes a colorful kaleidoscope of utopia. Jaffa Meir is a multifaceted, autodidact artist working in painting, sculpture, photography, product design, carpets and furniture, painting on textile, and computer graphics. The structural composition of some of the works is influenced also by her many years of working in the architects’ office. Meir also worked in the developing of ideas within the field of ecosystems and recycling for factories such as Coca Cola, and during this process came up with ideas for designing parks and public game spaces using industrial waste products.

The materials that Meir uses in her works are not of the refined and so she is called an “arte povere” artist. At times she describes her work as someone dealing in alchemy - work develops as in a trial laboratory with different techniques and materials. She says, “ at times the artistic work process is a sort of puzzle demanding the filling in of all the empty squares “. Some of her work focuses on women, and they incorporate criticism and cultural protest. Meir has strong opinions about recycling and environmental protection that is represented in her works by use of materials and shapes. In her work she reacts to contemporary art that communicates with the eco system, waste, and she also searches for different worlds. Her works are made up of layers upon colorful layers that when we look at them it becomes clear that the mound of waste she chose is not coincidental. It actually becomes a colorful kaleidoscope of utopia. Jaffa Meir is a multifaceted, autodidact artist working in painting, sculpture, photography, product design, carpets and furniture, painting on textile, and computer graphics. The structural composition of some of the works is influenced also by her many years of working in the architects’ office. Meir also worked in the developing of ideas within the field of ecosystems and recycling for factories such as Coca Cola, and during this process came up with ideas for designing parks and public game spaces using industrial waste products.

The materials that Meir uses in her works are not of the refined and so she is called an “arte povere” artist. At times she describes her work as someone dealing in alchemy - work develops as in a trial laboratory with different techniques and materials. She says, “ at times the artistic work process is a sort of puzzle demanding the filling in of all the empty squares “. Some of her work focuses on women, and they incorporate criticism and cultural protest. Meir has strong opinions about recycling and environmental protection that is represented in her works by use of materials and shapes. In her work she reacts to contemporary art that communicates with the eco system, waste, and she also searches for different worlds. Her works are made up of layers upon colorful layers that when we look at them it becomes clear that the mound of waste she chose is not coincidental. It actually becomes a colorful kaleidoscope of utopia. Jaffa Meir is a multifaceted, autodidact artist working in painting, sculpture, photography, product design, carpets and furniture, painting on textile, and computer graphics. The structural composition of some of the works is influenced also by her many years of working in the architects’ office. Meir also worked in the developing of ideas within the field of ecosystems and recycling for factories such as Coca Cola, and during this process came up with ideas for designing parks and public game spaces using industrial waste products.

The materials that Meir uses in her works are not of the refined and so she is called an “arte povere” artist. At times she describes her work as someone dealing in alchemy - work develops as in a trial laboratory with different techniques and materials. She says, “ at times the artistic work process is a sort of puzzle demanding the filling in of all the empty squares “. Some of her work focuses on women, and they incorporate criticism and cultural protest. Meir has strong opinions about recycling and environmental protection that is represented in her works by use of materials and shapes. In her work she reacts to contemporary art that communicates with the eco system, waste, and she also searches for different worlds. Her works are made up of layers upon colorful layers that when we look at them it becomes clear that the mound of waste she chose is not coincidental. It actually becomes a colorful kaleidoscope of utopia. Jaffa Meir is a multifaceted, autodidact artist working in painting, sculpture, photography, product design, carpets and furniture, painting on textile, and computer graphics. The structural composition of some of the works is influenced also by her many years of working in the architects’ office. Meir also worked in the developing of ideas within the field of ecosystems and recycling for factories such as Coca Cola, and during this process came up with ideas for designing parks and public game spaces using industrial waste products.

We are dependants, all of us.

acrylic painting of colourful flowers.

segments , steps, blindfolded, a difference of language between the body and something subtle , lack of movement.click -switch! the union of body and soul , the disappearance of the blindfold from the eyes and the flight between the immensely endless bright layers of fields .I am very curious about the sophisticated nature of things and phenomena: myself, people the Universe, I like to consider and feel them like a multi-layered cake, where each layer has its own history, worldview, and even its own temperature. I love to listen lectures of charismatic lovers of philosophy, design, music, human psychology and I enjoy the excitement it brings and the birth of new layers inside me. I rarely manage to silence my inner critic and for many years I have been learning how to be able to do it productively. I am still in the process though. I treat my life as a long voyage, changing directions and yes - sometimes those around me. I understand that even 24 hours a day is not enough and I definitely realize that my life today is much more colorful and interesting than when I was 20 years old.

THE LITTLE OLD WOMAN WITH FIVE COWS From Favorite Folktales from Around the World by Jane Yolen. One morning a little old woman got up and went to the field containing her five cows. She took from the earth a herb with five sprouts and, without breaking either root or branch, carried it home and wrapped it in a blanket and placed it on her pillow. Then she went out again and sat down to milk her cows. Suddenly she heard tambourine bells jingle and scissors fall, on account of which noise she upset the milk. Having run home and looked, she found that the plant was uninjured. Again she issued forth to milk the cows, and again thought she heard the tambourine bells jingle and scissors fall, and once more she spilled her milk. https://www.instagram.com/p/CnnCvkZpxW0/?utm_source=ig_web_copy_link

Digital drawing in concepts

Accidental Garfield and Odie vibes between these two.

Take the Rymans, for instance. There is Robert Ryman (1930 – 2019), the patriarch whose paintings are indisputable icons of the modernist canon. Then there are his wives and children. Ethan Ryman (b. 1964) is the oldest of Robert’s three artist children. Though his mother was not an artist, Lucy Lippard (b. 1937) was still a scrappy and eloquent art critic, a feminist, a social activist, and an environmentalist. Ethan’s meticulously considered and crafted artworks might be characterized as somewhere between photography and sculpture, the abstract and the (f)actual. Though Lippard and Ryman divorced just six years after their 1961 marriage, their son is arguably the closest to his father’s methodologies if not his medium, and was certainly the last to become a visual artist. Robert Ryman went on to marry fellow artist Merrill Wagner (b. 1935) in 1969 and they had two sons. Though Wagner is more quietly acknowledged than Ryman, her boundless practice includes sculpture, painting, drawing, installation, and more. With an emphasis on materiality, her sites are indoors and out, her styles alternating. Will Ryman (b. 1969) is the elder son of Robert and Merrill. He started out as an actor and playwright though he too eventually assumed a visual art practice to become a sculptor. He is best known for his large-scale public artworks and theatrical installations that focus on the figurative and psychological, at times absurdist, narratives. Cordy Ryman (b. 1971) is the youngest, and the only one of the three who knew that he was going to be a visual artist early on. His work is abstract, the sophistication understated, and his output is prolific. With his mother’s DIY flair, his homely materials seem sourced from the overflow of construction projects, lumberyards, and Home Depot. Ethan Ryman said that, when he was young, he didn’t want to be a visual artist. Instead, he pursued music and acting, producing records for Wu-Tang Clan, among others, getting “my ears blown out.” But he was always surrounded by artists—Sol LeWitt, Carl Andre, Jan Dibbetts, William Anastasi, and countless others at his mother’s place on Prince Street in SoHo and at the Rymans’s 1847 Greek Revival brownstone on 16th Street in Manhattan, where everyone was often seated around the family dinner table. He would spend part of most weekends in the highly stimulating chaos that reigned there—birds, dogs, plants, toys, art, people, everywhere. “While nowhere near as overwhelming, I was also constantly exposed to artists, writers and other creative folks at my Mom’s place.” “While nowhere near as overwhelming, I was also constantly exposed to artists, writers and other creative folks at my Mom’s place.” Ethan Ryman Lippard was “a powerhouse.” She took Ethan on her lecture tours, readings, conferences, galleries, studios, wherever she had to go. And while that almost always breeds rebellion, at some point, he began noticing all the art around them—both what it looked like and how it was made. He began to take photographs of buildings and realized that “abstract color fields were all around us.” He also began to notice his father and Wagner’s work more carefully—how sensitively it was executed and how reactive it was to its surroundings. “Once you’re interested, you notice. When I asked my dad questions, I would most likely get a one-word response. I had to go to his lectures for answers where he broke down modern art for me. After listening to him, it seemed to me we should all be painting, otherwise what were we doing with our lives?” Will Ryman, on the other hand, said that all his work has a narrative component. His background is in theatre and his interests have always been film and plays, his narratives about New York City and American culture and history. “It’s a city I love,” he said. “I try to observe culture in a bare-bones way and I’ve always been interested in telling stories—we’re the only species that tells stories to each other. It comes from an intuitive, cathartic place in me. I want to stay away from preconceived notions, although that’s not completely possible. I have no plan except to do something honest, with a little bit of a political bent and humor but I’m not an activist. I’m interested in exploring a culture and its flaws as an interaction between human beings.” His interests and his work are very different from his last name. There is no connection to minimalism. He didn’t go to art school, drawn instead to theatre workshops and theatre troupes. “I didn’t become involved with the visual arts until my mid-thirties. It’s easy to say what I make is a reaction, but I dismiss that. And I also wouldn’t say it’s rebellious after twenty years.” Of his family, he said, “we’re a normal family, a close family, with all the dynamics and complications that go along with that. And while everyone who came to 16th Street were artists, they were also just family friends. I have no other measure for how a family interacts. It was just the way it was.” Cordy Ryman was the only one of the three who went to art school, earning a BFA from the School of Visual Arts, but it was reportedly awkward for him, since all his teachers knew his parents. “When I started making abstract paintings, it was kind of push and pull but it became more interesting to me than my earlier figurative or narrative work. That’s when I started to know where I came from. I realized that I had a visual memory, and the language was there, a language I didn’t know I knew. We all had different ways of working; our processes are very different and it’s hard to compare us. Ethan and I use a similar inherited language but he thinks about what he does more. I work very fast, the ideas come from the process itself. I work in two or three modes simultaneously and bounce around.” At home, they were around Wagner’s work since her studio was there. “Will and I were always in her studio, helping her, going to her installation sites with her, adjusting her boulders or whatever the project was she was working on. That was special and made a deep impression, but I didn’t realize it then.” All five Rymans have in common an acute consciousness of space and of place as an integral component of their work. For the brothers, part of that consciousness might stem from their parents, but also from their attachment to their family home, which was a crucible of sorts for them, where everyone was an artist. To Cordy, the house was a “living, breathing thing, and the art in it felt alive, growing, and occupying any space that was available. It was the structure of our world. When I’m making work, it doesn’t need to be the most beautiful thing ever, but it needs to have its own life, its own space, like the art we grew up with.” And the next generation of Rymans, also all sons—what about them? Will said his son is still too young to know. Cordy thought the same about his two younger children; his oldest is in the art world, but not as an artist—so far. Ethan perhaps summed it up best: my two sons are artists; they just don’t know it yet.

Done 2022. This is my latest artwork so far as i have 2 color pencil ARTS in the making. with lead pencil on 9x12 bristol original up for sale $45+s/h . if interested leave a comment or jungmeister4@yahoo.com. ALSO THERE IS STORY TO THIS DEVIL'S TREE AND IT IS REAL STORY. DO NOT SCARED AS YOU READING YOU WILL BE OK. This is one sinister looking tree, and according to the locals, who told us of its legends, everyone in the vicinity of Bernards Township seems to have a story about it. They say that at one time a farmer killed his entire family, then went to the tree to hang himself. According to some, numerous suicides and murders occurred around the evil arbor. Supposedly anyone who tries to cut down the tree comes to an untimely end, as it is now cursed. It is said that the souls of those killed at the spot give the tree an unnatural warmth, and even in the dead of winter no snow will fall around it. When Weird NJ visited the Devil’s Tree we noticed evidence that many attempts had been made over the years to fell the unholy oak, but all have failed. The tree stands all alone in the middle of a large field off Mountain Road. Its trunk has been severely scared by axes and chain saws, some wounds appearing to be quite old. Why no one has yet been successful in toppling the timber we cannot say for sure. Nor do we know what has become of those who have tried. One Weird NJ reader described the Devil’s Tree to us this way: There’s a big field and right near the road is the tree. It’s the only thing in the field. Supposedly it’s a portal to hell and a sentinel guards it. He drives an old black Ford or pick-up truck and will chase you down the road until a certain point. You will see headlights one second, and the next nothing – the car is just gone. Another local told us that the inherent unholiness of the Devil’s Tree is the result of the evil that men do, and should not to be blamed on the Devil. Devil’s Tree is a KKK Hangout There is a very evil truth to the mythology of the Devil’s Tree. At one time, Bernards Township was one of the central headquarters of the KKK in New Jersey – they held many demonstrations in our town and held many meetings throughout the hills. As per KKK policy, often they would lynch local African-Americans to set an example, not only to other African-Americans, but also as an example of their principles and resolve. The Devil’s Tree was more secluded in those times before the developments spread across the rural countryside like a blight. It stood in a very isolated area of woods and fields, far from the prying eyes of the police. The evil energy around the tree comes from the souls of dead men and women who were killed by this vile organization. If you look at the tree you can see the left most branch extends almost parallel to the ground. This was the hanging branch. Pretty freaky and true stuff. To freak ourselves out, sometimes my friends and I would drive down the road at night telling ghost stories. When the moon is a full red harvest moon, and the wind is blowing just right, it looks like there might be bodies hanging from the branch, slowly swaying in the breeze.” –Rob S. One of our readers reported that at times there have been bodies seen hanging from that branch, though they turned out to be merely uniformed dummies of rival high school football players hung in effigy by the local home team. The Devil’s Tree Will Break You At the time of our arrival to the Devil’s Tree, there was a six foot noose hanging from the big branch, which extends out of one side. We noticed what looked like claw marks from a person or very large animal. To get a better view, myself and a friend climbed the tree to see if any unique marks were further up. After we climbed up, we were sitting on the branch trying to remove the noose. As we sat on the branch, we began to hear noises coming from inside the tree. When these noises grew even louder, a big bang sounded and a burst of energy came from the tree sending myself and my friend flying into the air. When I crashed to the ground, I landed on my ankle, breaking it in 2 places. –Steve K. The Devil’s Tree and Heat Rock Right next to the Devil’s Tree, there is a rock. It is very warm. Some people call it Heat Rock. People say it is the gate to hell. –Elmo M. No Snow at the Devil’s Tree We went to the Devil’s Tree in December when the ground was snow-covered. However, an eight by twelve foot circle of ground around the tree was totally bone dry. Later, when we were driving home, one of our friends thought he was cool because he took a piece of bark off of the tree and had it on him in the car. We pulled the car over, yelled at him, and made him throw it out the window! –Damian The Mark of the Devil My friends and I went up to the Devil’s Tree one night and got out of the car and touched the it. Afterward we went to Applebee’s to get something to eat and everyone that was sitting at the table suddenly had all of our hands turn black! We don’t know why, but it took us two and a half hours to get the blackness off of our hands! –Melissa C. The Children of the Tree We have all heard the story of not messing with Devil’s Tree, so we were smart and didn’t mock the tree. We went right next to the tree, and put our ears next to the bark. We heard sounds of screaming and children playing. –Matt W. A Shocking Experience I went up to the Devil’s Tree this past mischief night with two of my friends (both of whom were girls). I just wanted to scare them. I told them all the stories and tall tales that went along with it. I parked the car and proceeded to get out and walk to the tree. I got within arms distance and reached out and touched it as I had many times before… it’s kind of like a ritual I have. When I placed my hand on the tree, a single strike of lightning illuminated the sky. I don’t know what caused it to happen, but when I touched the tree, the lightning struck, and when I took my hand off, the lightning disappeared. It could’ve been coincidence, or could have been paranormal proof of the legend’s truth. Either way I thought it was cool and it scares the hell out of me now. –Brian D. Don’t Pee on the Devil’s Tree! I am reminded of an incident which occurred about 8 years back, when I was in high school, concerning the Devil’s Tree. We had all heard the legend of this infamous spot and there was much talk of it around my school. One night, my friends and I decided to pay it a visit and see for ourselves how true the legends were. We headed out and came upon the tree. We all began to have very bad feelings and decided to scrap our idea of actually getting out of the car and approaching the scene. We turned around and left without incident. About a week or so later, the talk of the tree began to escalate and one of the kids in the popular crowd began saying that it was all a bunch of bullshit. A few days later, his mind would be changed forever. This guy and a carload of other rowdy types decided to go up to see the tree that weekend. On Friday night, they began their journey up the mountain to see what it was all about. A friend of mine was in that car, and his story is as follows. Apparently, after cruising back and forth several times, the kids were getting bad vibes and wanted to leave. The kid who was driving, and who was the one proclaiming in school that the story was bullshit became angry at the “wimps” for having bad feelings. He stated to his friends that he was going to prove once and for all that the story was nothing and that he wasn’t fazed by it. He pulled his car over on the side of the road, right before the bend and got out. Marching up to the tree, he began yelling challenges to the so-called spirits. Nothing happened, so to further prove his fearlessness, he pulled down his pants and urinated all over the base of the tree. Still, nothing happened. He muttered an “I told you so” and got back into the car. After starting the car, he began to drive towards the bend in the road slowly. Suddenly, without warning, the gas pedal of the car became floored and the car sped up all by itself. Surprised at what was happening, the guy was unable to control the car and it skidded out and collided into a tree. The kids in the car sustained minor injuries but the car was totaled. I showed the stories of the Devil’s Tree featured in your magazines to my sister. As I read the tales aloud she became very pale when I got the part about the headlights which follow you then go out suddenly. I asked her what was wrong and she replied, “Oh my God – I went up there about a year ago and got chased out by the same black pick-up truck. It was severely tailgating me and when we got a short distance away, the lights were just suddenly gone.” She and I have never gone back since then. I am open for commission using color pencil or lead pencil for original artwork of subject matters such as Sci-fi, Fantasy, Horror, Comics, Fanart, NSFW, Surreal art, Whimsical art, Abstract art, and Tattoo designs. Sizes range from 8.5x11, 9x12, 11x14, 11x17. The Commission rate starts from $20 and up. if interested leave a comment or jungmeister4@yahoo.com MY CALENDAR FOR SALE: https://www.artwanted.com/artist.cfm?ArtID=115637&Tab=Calendar

A cute Acrylic Painting of a Sunny day. I just painted this scene on my birthday (not today). I was just dreaming of myself isolated in this beautiful scenario. Living a happy & sweet life.

Done 2022 with lead pencils on 11x17 strathmore drawingl paper. . Original art is up for sale $80 USD (shipping fee will apply) email me jungmeister4@yahoo.com This spirit upon evocation in the black mirror, builds towers and fortification surrounding the magician. This may be reflected in a spiritual manner, creating astral towers of which protect the magician from any attacks. In the Black Mirror, Malthus may be then invoked into the magician, as a part of recalling the spirit as an atavism. This will strengthen the mental aspect of the individual who seeks to create a solid essence of self which may not be attacked by spiritual means. Malthus builds towers and fills them with ammunition and weapons, and can outright incite war. He is also said to send his legions into battle, or to places designated by higher commanding demons. He burns towns; it is also said that he builds towns and fills them with armed men. Malthus takes swords to the wicked and sends men either to battlefields or to other places. Malthus has his own challenge which it that his opponent must bring back more Mamedanuki skins than Malthus himself can capture in one cycle of the moon; he counts a tie as a loss on his part, as he says he is a perfectionist. All leaders of the 26 legions serving under Malthus have been given names. Their names are Gremera, Ephiom, Phexus, Helerio, Dexitos, Amkoto, Emikin, Sayuren, Apishe, Mystitis, Alduin, Zortex, Drarok, Belmoret, Bizgin, Gelvox, Brudan, Xollon, Sonnorak, Algmis, Destrux, Valgoch, Starkun, Delmek, Celvall, Yorunan

This is Veldt a character I'll be using in DnD he is the son of a high elf and a slavic folkoric creature called a Poludnitsa or lady midday. Unlike other fairies and demons the ladies they love sunlight and heat. They are said to appear as peasant women among plumes of dust clouds carrying a scythe or shears. They are blamed for sun stroke and madness that besets field workers during the hottest of days.

This is Micron pen on a watercolor background.

Yesterday’s Magnetic Fields gig and current affairs fuelled the flames for this one, as did pink dolphins.

My name is Jenny Lebedev. I am a multidisciplinary artist and illustrator, Making painting on canvas and digital platform, video, photography, drawing. Graduate of the Department of Multidisciplinary Art at Shenkar. I recently finished illustrating the second children's book. I also accept commission projects and work with the client in close communication. I make digital art work for postcards, prints, incl. producing prints. In the field of art I deal with conceptual art on the topics of "nothingness" and the existing emptiness, awareness of the air.