GOD Scene II (Part I)

September 30, 2009

Scene II GOD
(PART I)

According to the “dream” my mother had where she saw God, she stated that he was so bright that she knew if she had not been meant to be there that she knew she would have went blind.  She was unable to see the detail of his face because of the light but she knew he was a man.  This is where the brilliant, white light originated for Scene II of the painting.  Initially I contacted NASA for a light so bright that it would insult the eyes but not cause permanent damage.  I wanted the pupils to jerk in constriction.  NASA never responded.

Knowing early on that another form of brilliant, white light would have to be substituted, I was stumped.  Considering everything from flat panels to full spectrum lighting, I became frustrated and put that part of the painting on hold for quite a long time.  I thought that maybe I would have a chance with NASA engineers if there was more to show them.  I considered all the money America has contributed to NASA’s dreams and I believed (still naive) that they would make a light for The Revelation Painting.

Time passed, days were like months and months like years before I thought of it again until one morning I had awakened from a dream.  The dream was to run the bright, white light cables of fiber optics through the canvases.  That idea was also no easy task!  I began to research fiber optics and light sources.  There were no flat light sources but the cables were flexible enough to use in each canvas, bundled together and coiled into the back of the canvas.  The total length of various size cables would reach around 20-30 feet, maybe more.

Since I had read in Revelation what is described as God’s image, I was thrown back in believing the “white light” theory as Revelation did not focus on the brilliance of the white light, in fact it really did not talk about it at all:

REV 4:2 At once I was in the Spirit, and there before me was a throne in heaven with someone sitting on it. 3 And the one who sat there had the appearance of jasper and carnelian. A rainbow, resembling an emerald, encircled the throne…

 In my dream, God was white light and a lot of it.  I had not seen God in the dream, only the answer to my lighting problem.  My mother had told me he was bright, white light and after all Scene II of the painting was entangled within this white light of God.  I began to research more.  (The blog regarding The Stones of the New City foundations shed immense light on the “appearance of jasper and carnelian and the Emerald.  This information was not discovered until 2009.)  Diligent searching for what God looked like brought me to:

Ezekiel 1:1-14 (New International Version)

Ezekiel 1

The Living Creatures and the Glory of the Lord

 1 In the [a] thirtieth year, in the fourth month on the fifth day, while I was among the exiles by the Kebar River, the heavens were opened and I saw visions of God.

 4 I looked, and I saw a windstorm coming out of the north—an immense cloud with flashing lightning and surrounded by brilliant light. The center of the fire looked like glowing metal, 5 and in the fire was what looked like four living creatures. In appearance their form was that of a man, 6 but each of them had four faces and four wings. 7 Their legs were straight; their feet were like those of a calf and gleamed like burnished bronze. 8 Under their wings on their four sides they had the hands of a man. All four of them had faces and wings, 9 and their wings touched one another. Each one went straight ahead; they did not turn as they moved.

 10 Their faces looked like this: Each of the four had the face of a man, and on the right side each had the face of a lion, and on the left the face of an ox; each also had the face of an eagle. 11 Such were their faces. Their wings were spread out upward; each had two wings, one touching the wing of another creature on either side, and two wings covering its body. 12 Each one went straight ahead. Wherever the spirit would go, they would go, without turning as they went. 13 The appearance of the living creatures was like burning coals of fire or like torches. Fire moved back and forth among the creatures; it was bright, and lightning flashed out of it. 14 The creatures sped back and forth like flashes of lightning…

I began to measure and sketch exactly what it would take and the size of it to magnify the importance of this scene.

 
Transitional scene from scene I to II


Measure of Jesus, therefore God (in a sense)

 
Working it all out


The fiber optics and their distances

Please note this is a continuing work in progress and subsequent blogs will be posted in the titles of GOD-Scene II (part II), (part III), etc…

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CUSTOM MADE WOODEN CANVASES

In creating The Revelation Painting, it was apparent that the weight of the stones and the need for sturdy canvases to hold the fiber optics were going to require wooden canvases.  In the case of the fiber optics requiring small holes drilled from 1-6MM, a cloth canvas would not suffice.  It was estimated that six canvases would be needed to house the fiber optic cables and four to hold the weight of the stones.

Fiber optic cables are delicate and will not tolerate numerous placement and removal as the painting moves from location to location.  The idea to drill holes and securely fasten the delicate cables is what brought me to the design of custom-made wooden canvases with drilled holes to accommodate various sizes of cables fixed securely into place with clear adhesive.

   

 Various sizes and adapters are available to create the light effects from a light source.  Obvious decreased movements and coiling of the frail cables would increase the life of them before replacement was required.  Designing custom canvases 48” x 48” from wood that fit flush with the cloth canvases was no easy task.  Measurements from the side were calculated at 1 ½” combined.

I consider myself an artist and not a carpenter.  It was very difficult for me to try to measure and calculate the needed design as doors were going to have to be on the backs of six canvases to carry the cables securely during transport.  I sketched a rough design and ran an ad for a carpenter, aka woodworker with tools to build the canvases.

 

I need someone to build 10 canvases, high quality 48″x48″x 1 1/2″, some with doors on the back. These canvases will be painted on; fine art and have to be sanded and smooth. Some will have small holes drilled in them. I do not have tools, so you need your own tools. I will buy the supplies at your direction regarding the type of quality, lightweight, non-warping wood required. I have a cloth example (without doors on the back) to go by for design purposes. I will need a quote from you regarding what you will charge for all 10 canvases. I hope that you can deliver them when done or I will rent a truck to pick them up. You will be required to sign a waiver if injury occurs in the creation or delivery of these canvases that I will not be held responsible.

I was amazed at the response!  After a week or so of careful consideration, I chose a man who may or may not be listed in The Journal of Acknowledgement for his significant contribution toward the creation of the painting based on his decision.  (Please see:  www.therevelationpaintingjournals.wordpress.com regarding this powerful journal.)

The most difficult part of designing the canvases are the side frames which can only be 1 ½ inch combined; the ¼” Birch plywood, the frame, and the width of the latch.  The main problem is finding the correct cut with the application of the latches where the canvas is not forced to sit out from the wall at a wider distance than the cloth canvases.  Solid construction is important here due to weigh.

The remaining four canvases are located at the end of the painting where the twelve foundations of crushed gemstones are found.  It will be interesting to calculate the exact weight of the stones.  (I will deduct the weight of the finished wood canvas, the adhesives and lacquers from the total weight after the stones are applied.)  Just carrying the crushed stones reveals pounds of weight!

 

I considered and am still considering tracks of LED lights to illuminate the crushed stones through small holes.  The stones, their magnificence of sparkle and light-play is best observed through illumination.  Time will tell regarding this decision.  Many other components were required as well for the completion of fully functional canvases to withstand the test of time.

The main component of the canvases is of course the wood it is made from.  Several carpenters recommended Birch.  I did not know much about Birch, only that I needed a wood that would not warp, could handle the weight and liquid applied to its surface.  I researched Birch and found interesting facts.  I felt this would be a good choice of wood from which to build the canvases.

  

Birch is a tight and solid wood species that grows in North America and is from the Betula Family, closely related to Beech and Oak. The two most common types of Birch are Paper and Yellow in North America but there are over 50 species found throughout the world.  Birch trees grow an average height of 70 feet with a diameter of 2”.  The bark rolls and peels spontaneously but gets thicker with age.

Birch lumber is used for many, many products from skateboards, to canoes, artist easels, paper and cabinets.  It is chosen for its fine and uniform texture.  It is nearly odorless and is also chosen for long burning fireplace wood.  Once it is dried it resist decay and fungus.  It is fairly priced and the type of Birch chosen for The Revelation Painting was Birch plywood, quarter inch.  Birch plywood is created from lamination of Birch veneer and is light but strong.  It is fine grained and pale.

 

Other parts associated with the custom wood canvases:

CONTINUOUS HINGE POLISHED BRASS FINISH

 HIGH QUALITY .04  GAUGE STEEL, 36″  BY  1.5”

SLOTTED ADJUSTMENT HOLES EVERY 9TH HOLE

1-1/2″ Metal Re-enforcing Corner Angle Plate
1-1/2 x 3/8 inch 4 hole zinc plated plates.
 

 

Brass Plate Flat Strap Hanger
Total length 1-7/8 inch Width by 1/2 inch
 
Nickel Flush Drawbolts  –   Approx. 1-1/2″ x 3″

Oddly enough, I consider this painting bringing Revelation to life and I found this interesting fact regarding Birch (from Wikipedia):

Birch trees are associated with the Tír na nÓg, the land of the dead and the Sidhe, in Gaelic folklore, and as such frequently appear in Scottish, Irish, and English folksongs and ballads in association with death, or fairies, or returning from the grave.