Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Wednesday, 10 June 2026

IS ANY ART MY OWN?

 This was a question I pondered after reading people discussing plagiarism vs. original art, and I started wondering where the line between original art vs. plagiarism actually lies.

Here are 10 of my pictures, that I’ve given a percentage score on, starting with 100% original and working down to 50% or less. I’d call anything over 50% my own original art, but this is subjective and totally arbitrary. And that is the nature of art!

All these pictures taken from my old Frot blog have been through a similar process of digital editing, including being cropped to a 1×1 ratio, and finishing off with a black frame and my www.frot.co.nz URL. I’d be happy to post any of these pictures anywhere online, but I’m not a commercial artist, and I imagine some of them would cross an imaginary line in the sand for commercial use. But I have no idea where that line would be. I’d say anything above 50% is fully legit, but below that may not be.

1. FREAK DOG TOMATO THING – 100%

For my first picture I’ll go totally safe – this is originally a painting I did with acrylics on canvas. It’s all from the deranged contents of my subconscious, so I’ll call this 100% original.
 


2. STRANGE SCENE IN THE STREET WITH DOG PISSING – 100%

Most of my art is based on drawings I randomly do using pen on paper and then add colours. This is the sort of bizarre stuff I seem to keep drawing, it’s all mine but don’t ask me to explain it’s deeper meanings!

3. GROOVING OUT AT THE SUPERMARKET – 80%

This is not a photo from a nightclub, it’s actually taken in a supermarket. The guy in the photo just happened to be standing in line in front of me. The original photo looks fairly different, and although the subject might be totally oblivious to the fact that he was being photographed, I’d use this image anywhere and would give it an 80% score.

4.BIG BIRD IS LURKING IN THE BUSHES 80%

This is a photo I took of an ornament in a garden. It is just a mass produced garden ornament so I’m not likely to be sued for copyright! I’d say this is pretty safe ground and score it 80%. Not my original sculpture but the photo is all mine, and I’d happily use this image anywhere.

5. GET THAT FUCKING CAMERA OUT OF MY FACE – 70%

Strangers in the street are one of my favourite photo subjects. I regard anything in the public domain as mine to record, but some people disagree. Would all the people I photograph like me using their photos online? Hell no! – in fact the ones that look pissed off are often my favourites. This lady did not look impressed that I was taking her photo. I like this photo but would be a bit careful about where I posted it. So 70% on this one I guess.

6. A COUPLE OF ABORIGINAL GUYS – 60%

This a drawing I did based on part of a photo of two Australian aboriginal guys. But it’s not my photo and I no longer even have a copy of the original. My drawing is a bit different to the photo but probably fairly recognizable. I’d call this my own art but wouldn’t use it for an advertising campaign!. I’ll score this as 60% original because although I’ve changed it a lot, I’d be on shaky ground if anyone asked about the original photo.

7. SNAKE PSYCHEDELIC PARTY – 50%

This drawing was originally done by a friend – I just coloured it in and did some edits – but she was happy for me to do that and liked how my version looked. I’d call it a collaboration, and would ask permission to use it commercially for any purpose. And if it made a bunch of money I’d give her half, so I’ll call it 50%.

8. AN INSECT AT THE WETA WORKSHOP. 50%

I take photos of all sorts of things, and with things like cars and motorbikes I don’t hesitate to call it my own work. But 3D art is trickier. This is a photo of a sculpture I took at the display at the Weta Workshop here in Wellington.   

https://wetaworkshop.com

My edit does look a bit different to the original, but the original was very cool and I make no claim to there being much of my original art here. So it’s my photo but not really my art. And this is based on a photo of a model from a very commercial source. Where is the line?

9. SKULLS GETTING MARRIED ON A WALL – 50%

Street art is another thing I like to take photos of – It’s not my art though, and I have no idea who originally painted it. So although it's based on my photo, taken in the public domain, it is very recognizable and not my original work. I like to edit photos of street art but have no idea if that is considered OK. 

10. WONDER WOMAN GOES QUAD – ?%

I like to do edits of random pictures from the internet, and from my own image collection. Pictures of Wonder Woman are all over the place, and I have no idea where this original photo came from to start with (but I do have a copy of it). Here I have edited it into four different coloured copies, but Andy Warhol used to do that sort of thing a lot. Is this above or below the 50% line? I have no idea… 

Monday, 1 June 2026

A TRIBUTE TO DAVID DEES

David Dees was one of my favourite artists. He died on May 31 2020. I’ve been using his art on my blog posts for more than a decade.
 


Normies just can’t cope with him at all. Here is one review of his art:

“David Dees believes in all the conspiracies. No, seriously. All of them. His cartoons have featured every possible conspiracy theory, and in every possible combination. You want a picture of Obama wearing a crown of thorns and smiling weirdly as he emerges from an egg labeled “Fascist World Government” perched atop a pile of gold coins, while a herd of sheep in the background hold up signs reading “O Baaa Ma!”? 
 
How about Satan holding a flaming Earth near a tree with the face from the Shroud of Turin at a Bohemian Grove meeting attended by Bill Clinton, George W. Bush, Vladimir Putin, and Bigfoot?
 
 A mother with robot legs and a gas mask offering a pie (from which double-helixes float upwards) to her son (the top of whose head has been replaced with an apple labeled “GMO“) and daughter (whose head is a potato for some reason), with chemtrails visible through a large window?  The Rothschilds, Rockefellers, and Freemasons using HAARP to create a fake water shortage in California as part of Agenda 21? 
 
A warehouse with an Illuminati-esque eye in a pyramid staring down at a skeleton in a labcoat labeled “CDC“, while said skeleton stirs a giant vat labeled with the UN logo and the word “VACCINE” into which pipes labeled “Live Ebola Virus“, “Monosodium Glutamate” and “Squalene Adjuvents” are emptying?. If so, David Dees has your back.”
 
 
 

 

Saturday, 9 May 2026

ART IS WHAT YOU CAN GET AWAY WITH

Was Andy Warhol a complete tool and another pawn of the illuminati?

 Some people certainly think he was, but I used to like some of his wonky looking art, so was blinded to all this… This review on the other hand is no holds bared scathing about him:

“He was such a super asshole. It’s all about attitude – I guess if you just look at the art and don’t know anything about him then the art, in and of itself, could be considered beautiful – but then you find out about him, and it’s hard to still like his art – because then I can see the taunting fuck you message he is sending off – if he had had an attitude of care about the images instead of being a total vampire – he basically sucked the life out of things and then spat them back out as a Polaroid.

He funded a lot of very sick people getting hooked on dope for 15 min of fame in the factory – he fed on weak people’s weaknesses – he did not uplift them – but instead he added more sickness to sickness – and surely he didn’t know any better – but Andy Warhol is like the iconic human version of what Facebook is now – YUCK. He had no aspirations to uplift or grow or be better, instead he reveled in sickness and made more of it…

Yes, the art has a certain beauty but the multiple nature of it is what makes me cringe… I was taught in art school to see beauty in everything including common artifacts of society- like a toaster or a watering can or a fork knife spoon – even a Campbell’s soup can- but he took it that one step further and debased the image- and the did the same with humans-

What did he contribute to society? It’s like Madonna - who took the last vestiges of goodness and sexed it up - laying the groundwork for all that we have now… they both took the dregs and made them into fake diamonds… I just detest Andy Warhol so much that it’s impossible for me to really enjoy his work…”

I both agree and disagree with that at the same time which is sometimes optimal

Basically I think most popular culture is manipulated to some extent by agencies like the Tavistock institute or programs like MK Ultra.

But having said that, most of my favourite music, movies, and art, are part of that social programming. So I can’t dismiss it all because the intentions behind it may have been bad, because it’s my inspiration. I think the internet was set up by the deep state for evil intent but I still use it every day..

Andy Warhol seems to me to have been a very original thinker with some fairly severe personality disorders.

I think he was an “Asset” (a creator manipulated and used by agencies) rather than another talent-less puppet put in place by the agencies and lifted to popularity (like all modern pop stars) or a shill (like Alex Jones)

So I see his art as being original and it resonates with me – sometimes I do a picture and only afterwards realise his influence on my own pictures – like this one:

image.png


“ART IS WHAT YOU CAN GET AWAY WITH”

Andy Warhol (Aug 6, 1928 – Feb 22, 1987)

Campbell’s Soup Cans (32 Canvases)
Andy Warhol / 1962 / Synthetic polymer paint on canvas/
/ 20″ x 16″
Museum of Modern Art

“Why do people think artists are special? It’s just another job.”
Philosophy of Andy Warhol, Andy Warhol, Harcourt Brace Jovanovich, New York, 1975

“Sometimes people let the same problem make them miserable for years when they could just say, So what. That’s one of my favorite things to say. So what.

“If you want to know about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.” –Andy Warhol
Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967)

 Andy, John & Yoko <3:

Yoko, Andy, and John

“They always say time changes things, but you actually have to change them yourself.”

 Image

“An artist is somebody who produces things that people don’t need to have.”

“Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.”

“Sometimes the little times you don’t think are anything while they’re happening turn out to be what marks a whole period of your life.”
Warhol & Brillo Boxes At Stable Gallery

“I’ve never met a person I couldn’t call a beauty.”

Andy Warhol:

“I have Social Disease. I have to go out every night. If I stay home one night I start spreading rumours to my dogs.”

“I’m confused about who the news belongs to. I always have it in my head that if your name’s in the news, then the news should be paying you. Because it’s your news and they’re taking it and selling it as their product. But then they always say that they’re helping you, and that’s true too, but still, if people didn’t give the news their news, and if everybody kept their news to themselves, the news wouldn’t have any news. So I guess you should pay each other. But I haven’t figured it out fully yet.”
Quote from The Philosophy of Andy Warhol: (From A to B and Back Again), 1975

“I thought that young people had more problems than old people, and I hoped I could last until I was older so I wouldn’t have all those problems. Then I looked around and saw that everybody who looked young had young problems and that everybody who looked old had old problems. The “old” problems to me looked easier to take than the “young” problems. So I decided to go gray so nobody would know now old I was and I would look younger to them than how old they thought I was. I would gain a lot by going gray: (1) I would have old problems, which were easier to take than young problems, (2) everyone would be impressed by how young I looked, and (3) I would be relieved of the responsibility of acting young—I could occasionally lapse into eccentricity or senility and no one would think anything of it because of my gray hair. When you’ve got gray hair, every move you make seems “young” and “spry,” instead of just being normally active. It’s like you’re getting a new talent. So I dyed my hair gray when I was about twenty-three or twenty-four.”
Quote from The Philosophy of Andy Warhol: (From A to B and Back Again), 1975

“It does not matter how slowly you go so long as you do not stop.”

“I believe in low lights and trick mirrors.”

“You need to let the little things that would ordinarily bore you suddenly thrill you.”

“I’m not afraid to die; I just don’t want to be there when it happens.”

Related image

Andy Warhol and the Velvet Underground with Nico

Andy Warhol fotografa Muhammad Ali e sua figlia, 1977:

Andy Warhol photographing Muhammed Ali

Related image

Warhol and Basquiat

Tuesday, 21 April 2026

STYLING STREET ART

American artist Tom Bob used street “furniture” to create art that interacted with it’s surroundings. From turning a sewer into a frying pan, to transforming gas meters into lobsters, he made New York city a more interesting place.

#1

Thursday, 18 December 2025

ENDING MY OBSESSION

I've decided that the end of 2025 will also mark the end of my two years daily www.sift.co.nz blogging. Posting something every day has been an entertaining experiment, but now I want to reduce my posting to a more random occurrence.


Some days I really feel like posting something, but some days I don't, and that is OK too. Being a completionist I'm going to keep doing a post each day until the end of this year, but from January 1st 2026 I'll just be posting whatever and whenever.

The truth is, I'm a bit burned out, and even with the blog hits now up well over 1000 on good days, that's still nothing to write home about. Back in the good old days (around 2017) I was getting more than 5000 hits a day, which was more impressive.

But it's not primarily about the hit count, it's more about watching what I essentially think is a giant fake global circus show, and having nothing very productive to say about any of it. I suspect that watching this endless flow of utter bullshit is just making me increasingly negative and cynical.

I used to think exposing psyops was helping to work against them, so that meant I was doing good work. I'm a bit embarrassed to admit now that after more than 20 years "conspiracy" research it's only in the past few years I've started to grasp that the puppet masters are not trying to hide their psyops any more.

On the contrary, they are doing their best to make them blatantly obvious. Back when they did the first fake moon landing in 1969, they were actually doing their best to make it look real. It looked utterly ridiculous, but that wasn't deliberate, they were just really bad at special effects back then. 


Last year when they pretended to shoot Trump's ear off, they knew full well it was obviously fake, but that was the desired intention.

It created division, between people who believe in official narratives, and people who can see obvious fakes. And that division is a key objective.

All the narratives both official and unofficial, are fake, but I've analysed them to death for decades and I really need to move on. I've already pretty much stopped looking at all media, and all social media too, apart from a quick daily look at Facebook.

But even looking at my Facebook feed of over 1500 "conspiracy theorists" posts in chronological order, pretty much everything on my feed is utter bollocks, and it seems to get more lame and retarded by the day. It's quite depressing to see how little ability even my own FB friends seem to have to differentiate shit from chewed dates. I'm on the brink of just giving up looking at even these last remnants of all the programming inputs. I probably will half heartedly keep a lazy eye on what today's stories are, but I've long since lost interest in most of it, even including posts from the "freedom" and "truther" movements, who seem to have no idea how completely they are being played. I'm hanging out to make a mental shift. I don't even want to wait until the new year, I just want to start right now. As part of that shift I don't even want to tell everyone about what I'm no longer doing, in some big explanatory blog post. I will just aim to quietly change and see how things work out.

Tuesday, 16 December 2025

THIS MUSIC VIDEO HAS BEEN A BIG INFLUENCE

 This music video has probably been influencing my own art for the past 32 years

 Back in the 90’s there was still lots of awesome music. I miss all that amazing music, because let's face it, almost all the music for the bast two decades has been utter bollocks..

There’s no overestimating the importance of Screamadelica, the record that brought acid house, techno, and rave culture crashing into the British mainstream — an impact that rivaled that of Nirvana’s Nevermind, the other 1991 release that changed rock. 
 
Prior to Screamadelica, Primal Scream were Stonesy classic rock revivalists with a penchant for Detroit rock. They retained those fascinations on Screamadelica — one listen to the Jimmy Miller-produced, Stephen Stills-rip “Movin’ on Up” proves that — but they burst everything wide open here, turning rock inside out by marrying it to a gleeful rainbow of modern dance textures. 
 
This is such a brilliant, gutsy innovative record, so unlike anything the Scream did before, that it’s little wonder that there’s been much debate behind who is actually responsible for its grooves, especially since Andrew Weatherall is credited with production with eight of the tracks, and it’s clearly in line with his work.

Even if Primal Scream took credit for Weatherall’s endeavors, that doesn’t erase the fact that they shepherded this album, providing the ideas and impetus for this dubtastic, elastic, psychedelic exercise in deep house and neo-psychedelic. 

 Like any dance music, this is tied to its era to a certain extent, but it transcends it due to its fierce imagination and how it doubles back on rock history, making the past present and vice versa. 

It was such a monumental step forward that Primal Scream stumbled before regaining their footing, but by that point, the innovations of Screamadelica had been absorbed by everyone from the underground to mainstream. 

There’s little chance that this record will be as revolutionary to first-time listeners, but after its initial spin, the genius in its construction will become apparent — and it’s that attention to detail that makes Screamadelica an album that transcends its time and influence. 

 

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