The intersection of "The Jam Part I - A History of Rock and Roll" Pointillism Ar
Posted by Mords1944 on June 11th, 2020
The home of Canadian pen and ink artist Michael Keirstead has echoed a rhythmic ratta-at-tat for most of the past two decades; the delicate knocking succumbed to the occasional chrome four-stroke roar of the garage. Naturally, the neighbors appreciated the substantial musical accompaniment and the constant buzz of the conversation and the laughter of the ever present family and friends!
In this home, everyone is attracted to the ratta-tat-tat of Art Studio, and the driveway served a continuous flow of 2-wheel traffic. The Art Studio is where everything fell apart. You see, while the rest of us were playing with our motorycyles and doing that 9-5, Mike was busy in his studio with an additional passion: stippling. Ratta-tat-tat.
This madman came up with the idea of art jamming team building a drawing, which would bring together the faces of more than one hundred of the most influential contemporary musicians and narrate the evolution of rock music. However, it wasn't going to be just a drawing, "The Jam" would be a HUGE drawing: four feet high and eight feet wide. Large enough to make a piece of plywood in their boots. Mike had to spend months selecting which musicians to include and where to place them with respect to each other to tell a story.
"The Jam" followed Buddy Holly and Elvis to Motown, Folk, The British Invasion, Heavy Metal and Punk, including classics such as The Stones, Doors and Beatles. Mike soon discovered that a task of this scope would not be completed in a single summer, especially because the gigantic masterpiece he imagined would not be a sketch, but a dotted one: a pointillism, composed of small dots made with a black ink pen.
Ratta-tat-tat is the sound your pen made when touching the canvas. Ratta-tat-tat is the sound that the songs muffled when they were played. Ratta-tat-tat was the only sound that could be heard until late in the afternoon when Mike worked alone, hoping his vision would one day be complete. Each small dot worked with each other to create the shading and the way that tricks the eye into seeing an image. The more separated the points, the clearer the tones; The closer the points are, the darker the tones. The project, started in 1979, took him eight years and would have driven him crazy if it wasn't for his motorcycle.
You see, Mike was working on another project; Rebuild a 1973 Triumph Daytona 500 to have a custom tank, six-foot forks, a dazzling chrome and a delicious Springer front. The Triumph also emitted a ratta-tat-tat sound (Oops!), But I was expecting a purr, a hum and was willing to strain and grease my elbow and learn more about bicycles in the process. Talking to Mike about it now, he says that the detail of the reconstruction and personalization of his Triumph paralleled the attention to detail that was required to complete the faces in "The Jam."
As each screw was chromed, the bicycle joined slowly in the same way as with each face completed, the work of art joined. At a time when the work of art seemed too slow, it was refreshing to do something physical with your body: welding, lifting, sweating, getting dirty, using your mind for something 3D, instead of standing still, pointing, having a cramp in your hand, Be ultra clean and not stained, and working in two dimensions. Mike would tap for a while, then build his Triumph for a while, then tap and then turn around in his rigid 1978 Shovelhead.Also See: Tat Tat, Ratta Tat, Rhythmic Ratta, Michael Keirstead, Tat, Ratta, Mike
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