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Mission Statement.

The quest for authenticity by removing the mask of cleverness,
recalling an earlier, less complex time, the visual artist has returned
to become a contemporary, distilled and layered signifier of what
makes an ‘authentic man’.
Admitting where I am, the truth is, I’m doing, in a daily way,
what I feel I am meant to do in life; those things which, with their
very doing, release inside of me a fountain with " Overflow " energy
into which I can pour hours as if they were moments. I’m consistently
doing those things that bring out the best in me.

Such passions are different for all of us, and I hope you know
what yours are. For me, they are evangelism, writing and making
visual art. They’re the same topics for which I created this Live
Journal, ten years ago, as a amateur; [ amare, Latin, to love ]
who takes risks on paper/canvas, far from being second to the
professional I am at the forefront of experimentation. Allowing
myself censored and uncensored expression. Engaging the
mind, will and emotion. Meeting of conscious [ censored ]
and unconscious [ uncensored ] spiritual and material, public
and private. Don't tell anyone ! ... ;-]
.no title

Product Disclosure Statement.

           Quest for a personal idiom.
" But ye are a chosen generation, a royal priesthood,
a holy nation, a peculiar people; that ye should show
forth the praises of him who hath called you out of
darkness into his marvelous light: " 1 Peter 2:9,.
no title
' always strive towards art.' Merci, Merci, Merci, så
uanset om du er stor eller lille, er du garanteret et
sus i maven på bakken.

Raw and redolent Nullarbor Nymph.



Title: Nullarbor Nymph humpy.
Painter: Jesper Andersen.
Medium: Oil on cardboard.
N.F.S. ©

The myth of the Nullarbor Nymph was born in December of 1971, and has become outback folklore. A young woman was photographed, wearing some strategically placed animal skins, running along the Nullarbor Plain. The female beauty lived in the desert with the kangaroos. National and world wide media organisations flocked to the tiny town of Eucla just over the Western Australian border. Eucla is so small that if you blink on your way through, you’d miss it. A motel, a petrol bowsers, one phone box, and the population of eight. There where even suggestions that she might be an itinerant Adelaidian who had disappeared from the motel the year before, leaving all her belongings behind. Out there, in the middle of nowhere, it seemed possible, even likely. The locals were taking tourists out into the scrub and surrounding bushland, showing them imprints of a woman's feet in the sand, and a place where it was believed the Nullarbor Nymph had her humpy.
In other words, the patterns are directly perceived as somehow meaningful and thereby offer themselves as salient motifs for use in rituals.

Jesper Andersen is listed in the following standard biographical references:
Germaine, Max. Artists and Galleries of Australia, Volumes 1 & 2, Third Edition. Craftsman Press, Sydney, 1990. Page 10