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“V. Mann is one of the artistic visionaries of my generation. His worldview is conflicted in a self-effacing way; he is aware of our troubles, and wishes to do more than observe, but isn't necessarily idealistic enough to commit to the causes of the Twitter people...so he draws up fences around what is his, and looks outward, a documentarian who spurns the newsfeed in favor of old news clippings, using the shapes of found scraps of linoleum and elderly farming implements to describe a rusted America: a culture of fertile rot, hopeful in its decay, optimistic in entropy.”

"Who am I? If this once I were to rely on a proverb, then perhaps everything would amount to knowing whom I "haunt." Andre Breton It is a strange life, when I consider it, how I struggle to attain strength and clarity, to mold base materials into forms that will express me and my attitude, my joy and appreciation. I work alone, who cares if I produce anything or not, or if anyone appreciates it? Still I believe a good thing will not perish.My paintings are landscapes for the viewer to enter and explore, decoding the meanings behind combinations of clippings and colors, challenging them to understand the association between juxtaposed elements and phrases. I am motivated by the challenge of defining areas of vast space, and the struggle to express my most inner thoughts and ideas to the viewer. I collect printed materials gathered over a lifetime by myself and others; a newspaper clipping from the Moon Landing my grandmother saved, a flyer from a show I saw in Toronto, or a ticket stub from a movie with someone I loved. Materials layered like paint through a collage technique I have been developing over the years using acrylic paint and a variety of stains, glazes, and pigments made from dirt and ash on masonite canvases, or parts of barns and houses. These materials were taken from an old family farm on Gumlick Road in Roanoke, Kentucky, the objects I’ve found there, the buildings, and the land itself have provided a great deal of inspiration to me. Trying to understanding how this land and the lives of my ancestors has created the person I am today and working on the same ground as my fathers is very important to me. This portfolio is presented to you as a documentation of my attempts to express myself and my attitude, my joy and appreciation, my relationship to the past and others, and my purpose. Sincerely, v mann (859) 654-1136 mann@theartofmann.com “ V. Mann is one of the artistic visionaries of my generation. His worldview is conflicted in a self-effacing way; he is aware of our troubles, and wishes to do more than observe, but isn't necessarily idealistic enough to commit to the causes of the Twitter people...so he draws up fences around what is his, and looks outward, a documentarian who spurns the newsfeed in favor of old news clippings, using the shapes of found scraps of linoleum and elderly farming implements to describe a rusted America: a culture of fertile rot, hopeful in its decay, optimistic in entropy.” David S. Lewis, Editor, (614) Magazine SELECTED EXHIBITIONS 2011 BoxHeart Gallery, Pittsburg, Pennsylvania 2009 Chapman Friedman Gallery, Louisville, Kentucky 2008 Syntetica, Cincinnati, Ohio 2008 El Ojito Springs, Tucson, Arizona 2008 Art Access, Columbus, Ohio 2008 Artonomy, Cincinnati, Ohio 2007 The Greenwich, Cincinnati, Ohio 2007 Terra Gallery, Columbus, Ohio 2007 The Agora, Columbus, Ohio 2007 The Marx Gallery, Covington, Kentucky 2006 qTen, Westerville, Ohio 2006 Art For Life, Columbus, Ohio 2006 Xoma Gallery, Cincinnati, Ohio 2006 The Kirsten Bowen Gallery, Columbus, Ohio 2005 The Schumacher Gallery, Columbus, Ohio 2005 Durkin’s Eclectic Art Limited, Columbus, Ohio 2005 MadLab, Columbus, Ohio 2005 “M” an Ultramodern Gallery, Covington, Kentucky 2004 St. Mary's Cathedral Basilica, Covington, Kentucky 2003 Studio ASH, Columbus, Ohio 2003 Cox Fine Arts Center/OSF, Columbus, Ohio 2002 Edward Hopper House Art Center, Nyack, New York 2002 Rocky Mount Arts Center, Rocky Mount, North Carolina 2002 Franklin Square Gallery, Southport, North Carolina “Thought-provoking pieces ...powerful, intriguing, and pleasing to look at. ” Bill Mayr, Columbus Dispatch SELECTED COMMISSIONS & COLLECTIONS “Love and Other Drugs”, Edward Zwick Film Nancy “Nana” Lampton, Collection Extreme Makeover Home Edition, Television Series Tracie McGarity Interiors, Commission EMH&T, Collection Fresh A.I.R Gallery, Collection Excellent Pictures & Words, Commission LD Management Co Inc, Collection Ivonne Lie, Indonesia, CollectionREPRESENTATIONNicole Capozzi - BoxHeart Gallery, Pittsburgh, PennsylvaniaMason Paul - Syntetica, “M”, & Xoma, Cincinnati, Ohio & Portland, OregonPat Durkin - Durkin’s Eclectic Art Limited, Columbus, Ohio “Mann’s work is perfectly balanced between quiet and chaos, like a traveler’s letter, a mosaic of emotions on a wide and empty colored landscape.” Opus Mang, Parisian Art Critic EDUCATION Associates Degree in Graphic Design - ACA College of Design Cincinnati, Ohio Thanks for taking the time to look over my cv. If you haven’t already done so then please view my work at: www.theartofmann.com I look forward to hearing from you soon Sincerely, v mann (859) 654-1136 mann@theartofmann.com Desoto & PlyMouth Acrylic Collage 24” x 24” $1200 Died Trying, War, and the All Hail Acrylic Collage 24” x 24” $1200 NO Two Acrylic Collage 24” x 24” $1200 A Cold White World Acrylic Collage on Barn Siding 24” x 53” x 2” $2400 Oregon  Acrylic Collage on Barn Siding 36” x 100” x 3”  $7000 RR Three Falmouth KY  Acrylic Collage on Barn Siding 38” x 192” x 2”  $15000 The Pictures Tell the Story  Acrylic Collage 54” x 65” x 2” $5200 The Duality of Blue and Brown   Acrylic Collage/Oil on Masonite  48” x 144” x 4”  $15000 Eldorado Acrylic Collage 48” x 144” x 4”  $15000 Glorifying Yourself, World Control Acrylic Collage 38” x 56” x 3” $4000 I Want To & I Can’t Believe Acrylic Collage 48” x 72” x 2” $4000 Moon Walkers, Walk on Moon   Acrylic Collage 32” x 34” x 2” $3000 The Visitors Staying at the Windsor Hotel Acrylic Collage on Barn Siding 28” x 50” x 2” $2500 Flowers For Algernon Acrylic/Rose Petal Collage on Grain Bin Lid 24” x 72” x 3” $2000 Eminent Domain MILO Grogan  Acrylic Collage on Boxes  22” x 7” x 6” each $300 Falmouth KY Acrylic Collage on Barn Combine  60” x 32” x 5” $6000 The Falmouth Flood Disaster Acrylic Collage on Barn Door 50” x 38” x 2” $5200 Magers Shoe Street Acrylic Collage on Dresser Back 53” x 33” x 2” $2000 The Key, PHI, The Golden Ratio Drawer Front Combine on Masonite 26” x 18” x 3” $1100 Autobiography of the West Acrylic Collage on Snakeskin   24” x 18” x 2” $1000 Diagram of a Casket  Acrylic Collage 24” x 18” x 2” $1000 Portrait Twenty Acrylic Collage 24” x 36” x 2” $1900 Saint Columban of Bobbio 524-615 Acrylic Collage on Barn Door 32” x 78” x 2” $8000 Mary Magdalen and Jesus  Acrylic Collage     38” x 88” x 3” $10000 Sacred Heart  Silk Screen on Acrylic Collage  48” x 96” x 2” $14000 falmouth, Kentucky, v mann, contemporary, collage, andre breton, sarah asher, artist, acrylic, jasper john, robert rauschenberg, boxheart, greenwich house, chapman friedman, synthetic, el ojito springs, art access, the marx, the schumacher, edward hopper house, rocky mount, franklin square, love and other drugs, jason mann, the art of man, landscape, abstract, painter, art, surreal, expressionism, art, modern, visual artist, abstract, acrylic, collage, impressionist, cut-up method, salvador dali, pablo picas, andy warhol, paint, experimental, purchase art, online, buy paintings, female figure, arts, art, acrylic painter, local, exhibit, mixed media, exhibition, columbus, www.theartofmann.com, mark ryden, theartofmann, society, salvation, insight, art appreciation, art history, art museum, modern art, mann, man, theartofmann.com, rustic, american, pioneer, homestead, green, farm, self sufficient, sustainable, off the grid, farming, agriculture, canning, farm house, new work, three years three months and three days, man gave names to all the animals, past work, about, contact, bio, resume, portfolio, photos, prints 1. What inspires you - and do you use that inspiration directly to create a piece of art or do you channel towards something you are already working on? It is a strange life, when I consider it, how I struggle to attain strength and clarity, to mold base materials into forms that will express me and my attitude, my joy and appreciation. I work alone, who cares if I produce anything or not, or if anyone appreciates it? Still, I believe a good thing will not perish. My paintings are landscapes for the viewer to enter and explore, decoding the meanings behind the combinations of clippings and colors, challenging them to understand the association between juxtaposed elements and phrases. I am motivated by the challenge of defining areas of vast space, and the struggle to express my innermost thoughts and ideas to the viewer. This work is presented as a documentation of my attempts to express myself and my attitude, my joy and appreciation, my relationship to the past and others, and my purpose. 2. I noticed in the pieces that I have seen of yours that you use everyday things to create your artwork. What type of things do you like to work with the most? I collect printed materials gathered over lifetimes by myself and others; a newspaper clipping from the Moon Landing my grandmother saved, a flyer from a show I saw in Toronto, or a ticket stub from a movie with someone I loved. Materials layered like paint through a collaging technique I have been developing over the years using acrylic paint and a variety of stains, glazes, and pigments made from dirt and ash on masonite canvases, or parts of barns and houses. These materials were taken from an old family farm on Gumlick Road in Roanoke, Kentucky, the objects I’ve found there, the buildings, and the land itself have provided a great deal of inspiration to me. Trying to understanding how this land and the lives of my ancestors has created the person I am today and working on the same ground as my fathers is very important to me. 3. What is your Favorite type of art to produce? I am a painter, paintings are what interest and involve me. 4. What do you enjoy most about working in this medium? Painting began around 45,000 years ago in the caves of France and really has changed little since then. Different styles and movements have come and gone but the painting hasn't it can't, that speaks to what painting is. A part of the human experience that can never be improved but only found and explained by each artist. It was a painter that first gave the world the image of God. 5. Is there a process or ritual you go through before you begin creating? And if so, what is it? “Men do not live once only and then depart hence forever. They live many times in many places, although not always on this world. Between each life there is a veil of darkness. The door will open at last and show us all the chambers through which our feet have wandered from the beginning...” Egyptian papyrus scroll by Anana, Chief Scribe to King Seti II, Circa 1320 BC 6. Do you create because of a need to create or is it a series of events that brought you to a habit of creation? Or is there some other reason you became an artist? Creation is the act of searching, it comes naturally to me, I am a very curious person and I want to know the meaning of existence. Art is a way of finding the answers to life's questions. I became an artist to find God. 7. Are you ever satisfied with your work? I am satisfied with my work, it has brought me many hours of introspection and given me many conclusions about the nature of the world I live in. 8. How do you know when you are done, how do you let go of a piece of art? It's natural. How do you know when your full? You never really let a piece go, it was intended to be viewed, so without an audience it looses some of it's meaning and purpose. 9. What did you want to be when you grew up? Did you ever imagine being an artist? From as far back as I can remember I always wanted to be an artist, and still do. I hope I make it someday, I think I will if I live long enough. 10. Is painting a very important part of your life? Painting is something I really enjoy but I can go for long periods of time without producing anything. What lies beneath the painting, the process, the contemplation, the self reflection, these things are very important to me and are a very important part of my life. 11. What is the relationship between you and your art? We are one, there is no distinguishable difference between me and my art. 12.  Do you do a lot of shows? And when are your next shows? I am currently showing in Cincinnati, Columbus, Pittsburgh, and my work can be seen in the new film "Love and Other Drugs" I am in the process of creating pieces for a solo show in Pittsburgh at the Box Heart Gallery, I believe it opens in April. 13. What is your art education background or are you self taught? I earned an Associates Degree in Graphic Design and received the normal art education provided by Kentucky public schools. Painting is more a mental process than a physical one. No training in technique can make a painter, a painter is made from countless hours of contemplation. 14. Who in your life has influenced you and the artist in you the most? My family and those who I love deeply, my wife. 15. What advice would you give a young artist struggling to make it? Search yourself and create what is inside your heart, fame is fleeting, enlightenment is eternal. "Men do not live once only and then depart hence forever. They live many times in many places, although not always on this world. Between each life there is a veil of darkness. The door will open at last and show us all the chambers through which our feet have wandered from the beginning..." Egyptian papyrus by Anana, Chief Scribe to King Seti II, Circa 1320 BC There was an old preacher who always prayed, "Lord, prop me up on my leanin' side." Someone asked him why he prayed that prayer so fervently. He answered, "Well sir, you see, it's like this... I got an old barn out back. It's been there a long time, it's withstood a lot of weather, it's gone through a lot of storms, and it's stood for many years. It's still standing. But one day I noticed it was leaning to one side a bit. So I went and got some pine poles and propped it up on its leanin' side so it wouldn't fall. Then I got to thinkin' 'bout that and how much I was like that old barn. I've stood a long time through a lot of bad weather and withstood a lot of hard times, and I'm Still standin'. But I find myself leanin' to one side from time to time. I like to ask the Lord to prop me up on that leanin' side, cause I figure it wouldn't be to good to fall. I have existed from the morning of the world and I will exist until the last star falls from the night, although I have taken the form of Cius Caligula I am all men as I am no men and therefore I am a god The Word of the Day for March 24 is: domicile \DAH-muh-syle or DOH-muh-syle\ (noun) : a dwelling place : place of residence : home Example sentence: "My domicile may be modest," explained Mr. Arthur, "but it is located in a lovely spot and provides everything a refined bachelor needs to live comfortably." Did you know? A domicile is "home sweet home," and it has been since at least the 15th century. In the eyes of the law, a domicile can also be a legal residence, the address from which one registers to vote, licenses a car, and pays income tax. Wealthy people may have several homes in which they live at different times of the year, but only one of their homes can be their official domicile for all legal purposes. The term for both the legal and sentimental varieties of "domicile" traces to the Latin "domus," meaning "home." I have know the Mann family for years, Virgil Mann was an outstanding example of an honest community minded citizen, so I was pleased to meet Jason Mann in my office last week to discuss his up coming art show. The arts are a measure of any great society, whenever historians look at past societies they delve into their art. After meeting with city developers I know artists are key for downtown Falmouth development. Events like this one in the Golburg building (The Old Houchen’s Store) are an avenue for bringing more people to the area. We long to fill up our abandoned shops with business. This exhibition is being ambitiously advertised around the Cincinnati and Northern Kentucky area with a special focus on Lexington. Those involved believe that residents of these areas are interested in coming to a smaller town like Falmouth for Arts and Entertainment, just as the Wool Festival and Kincaid Theatre have proven. What do I want for Falmouth, to see opportunity on our own streets, to build a future downtown we can be proud of and stand behind knowing we’ve all had a part. When I asked Mann what I could do, he said to just be there, I hope you will too. I am very excited for this event. I hope with its success there will be more to follow. It is not a one man or one-woman task it is with many hands, ideas and cooperation that this new era can exist. This is our town lets work together to make it a beneficial place for all. As a community we’ve helped form the minds of these artists and now they have brought their work to share with us. They are sure to continue their success as highly creative artist Mann, Simon and Flairy are recognized by their peers as being as excecptional artist and have a great deal of experience in their respective fields. I am personally very excited to hear Mr. Flairty speak on Sunday he’s an outstanding speaker and writer and to hear first hand the amazing voice of Sarah Asher. Phaseone-the works of 1999, (the beginning of mann the artist) These works resonate with a primeval sexuality that is intended to shock. In them we see the birth of processes that will later dominate his work. Predominately the juxtaposition of different textures and colors and the balancing of the composition to give the work a symbolic or psychological dimension. Phasetwo-the works of 2000, (mann the satirist) Composed from a collection of unpromising, humble materials mann uses the body to convey information or emotion, seeing it as a vehicle of communication, like language. These pieces are characterized by their thick application of wax, plaster, and found material in an effort to produce a visual riddle for the viewer to decode. Phasethree-the works of 2001, (mann the dreamer) mann begins seriously experimenting with his work as a dream scene onto which he can project subconscious mental material. These pieces are teeming with malevolent images that are part fantasy and part real. Building on the passions of the previous years, size is also introduced along with extreme texture and color jumps. The materials used in this exhibition were taken from a barn on Gumlick Road in Roanoke, Kentucky. The barn was built over one hundred years ago by the artist’s Great Great Great Grandfather, William Joseph Abner. The farm was eventually split between William’s five children, and the plot that the barn stands on was given to William’s granddaughter Nanny Abner and her husband Frank Race. Aunt Nanny (as she was known) and Frank had a hammer-mill in the barn that was used to crack corn. They also used the barn to house and care for the farm’s workhorses. The farm and barn were later sold to Aunt Nanny’s niece, Rosamond, and her husband Virgil Mann (the artist’s grandparents) who continued to use the barn until the late 90’s when they moved to Dry Ridge, Kentucky. In June of 2004 Virgil C. Mann passed away, leaving the farm to be divided among his five children. A small part of the farm, including the barn, was recently sold at auction. V. Mann purchased the three-acre lot where the barn, a corn shed, and a garage are located in April of 2005. The artifacts within these buildings have provided much inspiration for the artist; the work you are witnessing is the continuation of six generations and over one hundred years of family legacy. As you view these pieces, keep in mind where they came from and how they have changed over time, much like the family that built them. History cannot be created…
Rural Route 3 Falmouth, Kentucky, to me is Grandma and Grandpa’s house, until they moved in 1998 this is where I would go to visit them. The barn, garage, and shed were where Grandpa worked and I helped. The place is like he left it and everywhere I look I see objects that remind me of my past, the work in this exhibition was created from these memories. I use collage to combine old newspapers (collected by Grandma and found in a box 1950-89), acrylic paint, gouache, oil bars, sheet rock mud, and dirt with wood (walls, doors, windows…) from the barn. The objects are familiar to me and have taken on the personalities of the people they belonged to. The work is very spontaneous I don’t plan out each move ahead of time; I try instead to work within the flow of the objects and environment. My goal is to suspend time, to create work that is a monument to my ancestors, and bring their spirits into the present day. As an object the barn will eventually deteriorate but as art it will continue on. I feel this is one of the basic reasons for art, why prehistoric man first drew on the cave walls. KEH-TAH-TEN “The Land of Tomorrow” Pendleton County native (Jason) V Mann, nationally acclaimed artist, spends his summers working and living in the house where his grandfather was born. Here on the ridge and in the bottoms of Kentucky, country folks are still honoring a tradition long forgotten else where, in sprawling city’s of strip malls and mega chains, there’s a lot to learn from a community where people still grow there own food and farm the way their fathers and mothers have for generations. How lucky we are to be surrounded by such beauty almost completely unchanged by corporate destruction. We are proud to present in historic downtown Falmouth at the Old Houchen’s building September 26th, 27th, and 28th Mann’s newest exhibition “the Land of Tomorrow” in conjunction with Mason Paul of Syntetica and M Galleries of Cincinnati Ohio and Portland Oregon. Featuring the work of Mann, Jim Simon, Steve Flairty, and Tract Records recording artist Sarah Asher. Jim. Simon was trained in the “old world” style of portrait painting at the legendary Gephardt Art School located in Cincinnati. His classical art training has carried over to his new style of abstract painting, where good composition is still the end product. Lexington writer Steve Flairty, senior correspondent for Kentucky Monthly and author of two inspirational books, will share a sampling of stories from Kentucky's Everyday Heroes and sign copies. Flairty, who's parents live near Butler, was a recent guest on KET's "One-to-One" with Bill Goodman. He is also author of a biography on Kentucky Afield's Tim Farmer. www.theartofmann.com steveflairty.com www.myspace.com/sarahasher Schedule: Friday September 26th 5:00 – 10:00pm Opening reception with musical guests Sarah Asher, Yuck Falls, Donnie and the Donuts Saturday September 27th 12:00 – 10:00pm special events and evening performances by Sarah Asher, The Mann from Yuck Falls, David S. Lewis Country Music Legend, and more Sunday September 28th 1:00 – 6:00pm Closing reception featuring Steve Flairty sharing stories and signing his new book. Followed by Gospel Music “The ‘Land of Tomorrow’ is more than a visual arts exhibition,” says V Mann, theartofmann.com, “The show will feature a variety of talented musical artists, the literary arts of Steve Flairty, and a sampling of gourmet foods.” “I think we have all the five senses covered.” The thought provoking artwork of Mann and Jim Simon will cover the walls of the old Houchen’s Store with vivid images and colors only seem in the imagination of the artists. “Our paintings work well together, our styles are similar,” says Mann. “It’s kind of like finding shapes in the clouds on sunny day, paintings for daydreamers.” “The music might outshine the artwork,” laughs Jim Simon. Sarah Asher’s Bessie Smith wail will stun the ears. The Jug Band styling’s of Yuck Falls and one-man band The Mann from Yuck Falls will conjure up memories of yesteryear. Traveling musician David S. Lewis (Country Music Legend), myspace.com/davidslewiscountrymusiclegend will grace the stage with no doubt a few to many travel stories and his classic claw hammer banjo styling’s. Members of Cincinnati Band Lagniappe will liven up things Sunday afternoon with haunting gypsy and Cajun tunes. “You can even sample some gourmet foods.” Becky Sargent will be providing a sampling of Tastefully Simple gourmet foods during Steve Flairty’s book signing Sunday afternoon, and if you try something you like you can order it for your home. The opening reception will offer refreshments furnished by Wyatts. “I’m not sure if people realize how much we have here in Pendleton County, almost everyone involved in this show either lives here, works here, or was born here. We are really going to show people in Cincinnati and Lexington what we can offer. The support I have received from city of Falmouth is amazing,” says Mann. Sarah Asher, myspace.com/sarahasher, will kick off the music on Friday. Asher’s music oscillates between extremes, explorations of colorful images, breezy melodies and complicated feelings of love and loss. Her insistence on gut-wrenching distortion and a series of emotive wails channel Joanna Newsom and Bessie Smith and offer a succinct picture of a woman trying to catch up to the hectic, eclectic world she's created in a book full of papers. It's clear from the intelligent way she talks—head cocked for emphasis, points accentuated with her hands—that she studied all these things before writing them down in her worn, rumpled notepad "Your whole life—everything you've seen, everywhere you've been—is inside you," she says, her face looking always as if it's preparing to blush. "I just have to find it." Jug band Yuck Falls, myspace.com/yuckfalls fronted by V Mann and Sarah Asher will hit the stage Friday evening and treat the crowd to their backwoods and rootsy sound. Playing numerous campfire jams and foot-stomping ditties to which one could easily do-si-do with a woman wearing soiled overalls. Atop their country kitsch is an obvious love of rock styling’s and a rhythmic tightness that comes with people who can pull off the classic call-and-response format. They are rare. Most of their recorded songs mimic the candid quality of a Lomax field recording and cover the folk of yesteryear. The band talks, tunes and yucks it up before actually getting to the music, which gives a listener the sense that he's been invited into the band's own chicken coop. Steve Flairty, steveflairty.com, will be signing copies and telling stories from Kentucky’s Everyday Heroes on Sunday. A collection of 40 biographical portraits in which Flairty describes people from all over the Commonwealth who are making positive differences in the lives of others. They include Patrick Henry Hughes, a blind University of Louisville student who plays trumpet in the school’s marching band; Kendall Harvey of Adair County, who has made 150 custom bicycles for children with Down syndrome; and Shad Baker of Letcher County, who is leading a massive project to mark a hiking trail on Pine Mountain. Flairty also discusses his experiences traveling around the state while researching the book, including dealing with regional differences, sorting through the multitude of story ideas he received, and locating the people he wanted to include. Members of Lagniappe will play Sunday afternoon. Lagniappe: (adj.) meaning "a little something extra" in Cajun French, is exactly what you experience when you see a Lagniappe show! Lagniappe plays an eclectic mix of traditional Louisiana style Cajun music, New Orleans Jazz, Zydeco, and Eastern European tunes. You'll travel to Louisiana and beyond, without having to pack your bags! Laissez les bons temps roulez! Home "He who lives in the ideal and leaves it expressed in society or in art enjoys a double immortality. The eternal has absorbed him while he lives, and when he is dead his influence brings others to the same adsorption, making them, through that ideal identity which is best in him, reincarnations and perennial seats of all in him which he could rationally hope to rescue from destruction." We must start with the fact that the function of art is to convey an infinite number and variety of human thoughts into an infinite number and variety of images. 99 "In the original statement of the Goodman paradox, the gem expert, who spoke our ordinary language, assumed nature to be uniform with respect to the greenness or blueness of emeralds. Since observed emeralds had always been blue, and since he was assuming that nature is uniform and that the future would resemble the past in this respect, he predicted that the emerald would remain blue. But the hypothetical gem expert who spoke the blue-green language assumed nature to be uniform with respect to the greenness or blueness of emeralds. Since observed emeralds had always been blue and since he was assuming that nature is uniform and that the future would resemble the past in this respect, he predicted that the emerald would remain blue. But we see that these two predictions are in conflict. The future cannot resemble the past in both these ways. As we have seen, such conflicts can be multiplied ad infinitum. The future cannot resemble the past in all respects. Therefor it is self-contradictory to say that nature is uniform in all respects." Phaseone- 1999 These works resonate with an animal sexuality that is intended to shock through the intense almost obscene use of the body. This type of sexuality, this human obsession with lust, indulgence, and obscenity, tends to appear more and more often in modern culture. Phaseone is an attempt to visually represent this want and desire with the underlying message that the loss of such a vain pursuit is humanity itself. In phaseone we see the birth of processes that are later expanded upon in phases two and three. Predominately the juxtaposition of different textures and colors; and the balancing of the composition to give the work a symbolic or psychological dimension. These "different textures" are built of layers of newspaper and magazine clippings, computer printouts, and other paper-based materials. Through these "clippings" each piece is assigned a moment in time by using materials that pertain to local or international events on a specific day or over a certain time span (such as an election or trial). The theory behind this practice is that the "clippings" contain the emotional value of the event or incident; and that the painting is built based on this emotional content. Other "clippings" are gathered randomly, much like Brion Gyson’s cut-up technique, based on the artist’s emotional state or connection at that time. This cut-up technique was then modified to work with images attained from the Internet generating the final image, a digital collage produced and modified to form the "sketch" for the painting. These digital sketches are always completed in grayscale leaving color choices until the brush is in hand. Eventually a final digital sketch is produced and left on the computer screen, then a charcoal drawing is created directly from the computer screen onto the painting surface. The painting process then begins using the digital drawing for reference through out. Mann prefers to use only the primary colors and a fan brush mixing directly on the painting surface. This initial experimentation resulted in some 47 pieces of varying sizes and content called phaseone. Phaseone begins as a series of thirty 18" x 24" Masonite panels with two-inch thick veneered sides, created in the beginning of 1999. These 18" x 24" panels were the first attempt at developing and incorporating Mann’s artistic philosophies into art. They are intended to shock the viewer and demonstrate the distortion of beauty that occurs as a result of lust and deviance. Composed from a collection of unpromising, humble materials the human form is used to convey information and emotion; treating it as strictly a vehicle of communication, much like language. The techniques used in these pieces are achieved by combining modern computer tecnowledgy with traditional painting methods. The second series of phaseone is a series of five 5 1/2" x 24" Masonite panels with two-inch thick veneered sides. The series began as the leftover pieces of the 18" x 24" series, however unlike the previous series these pieces were created spontaneously during the painting process. The Masonite panels were also "leftovers" thus explaining their peculiar size. The third series of phaseone consists of nine crescent boards of varying sizes created during the process of gathering materials for the 18" x 24" series. During this process local thrift stores were frequented, and Mann noticed the strange variety of old wooden picture frames. From time to time certain frames caught his eye and were purchased, they later became this series. This series introduces the theory of painting the image that "lives" in an object, an image that comes from the self-conscious. Also we see for the first time a self-portrait that will appear again in later phases. The final series of phaseone is three large digital prints mounted to Masonite panels with two-inch thick unfinished sides. The original images came from digital files created in 96’ that were printed on a large inkjet printer. This series represents the first attempts at mixing paint with ink printouts and foreign materials such as dirt and sawdust to create a deep texture. 00 "The mechanism through which the anonymous authority operates is conformity. I ought to do what everybody does; hence, I must conform, not be different, and not "stick out". I must be ready and willing to change according to the changes in the pattern, l must not ask whether I am right or wrong but whether I am adjusted, whether I am not "peculiar," not different. The only thing, which is permanent in me, is just this readiness for change. Nobody has power over me, except the herd of which I am a part, yet to which I am subjected.
Why should anyone be grateful for acceptance unless he doubts that he his acceptable, and why should he have such doubts, if not due to the fact that he cannot accept himself - because he is not himself? The only haven for having a sense of identity is conformity. Being acceptable really means not being different from anybody else. Feeling inferior stems from feeling different, and no question is asked whether the difference is for the better or the worse." Phasetwo- 2000 Phasetwo like phaseone began as a series of 18" x 24" Masonite panels with two-inch thick veneered sides. In phasetwo we see a departure from using the human form in its recognizable shape and instead hiding it among abstract textures and designs. A greater range of color and texture is formed using these rich "landscapes", onto which subconscious messages are projected, as the emotional value of the human form used in phaseone. The use of "clippings" is modified to create this subconscious message intended to taunt the viewer with its meaning. In addition the "clippings" are applied in a manner so that later in the process a system of subtraction or carving is used to remove materials from the paintings surface. This painting through subtraction appears later in phasethree. The "digital sketch" technique is used more as a quick reference for possible changes or additions to the piece instead of as a guide for the painting. A majority of the content is created spontaneously during the actual painting process; this idea came in an effort to produce pieces that represent instant thought or the birth of ideas. We also see for the first time the use of extremely thick applications of wax, plaster, and a number of different acrylic mediums along with the use of clothe, snakeskin, and other non paper materials. 01 "Freud once said that the artist creates a world of fantasies because his inner needs are "too clamorous" to be gratified in real life. The inner needs of the mentally ill are very clamorous indeed, and psychotics do indeed often turn to art. Inmates of mental institutions sometimes cover walls, floors and every scrap of paper with their drawings. Since Freud's time, physicians have learned to value this production, not only as a source of clues to their patients' problems, but also as a vivid, often harrowing picture of the psychotic mind itself. Most artists have the control to choose what they paint. The psychotic artist is at the mercy of his unconscious. He has no choice; he must illustrate the maelstrom that has him in its grip. As the pictures in this essay starkly show, psychotic art gives us a firsthand look at the unconscious itself-at the irrational fears, archaic symbols and private nightmares which lie buried deep in the minds of us all." Phasethree- 2001 Phasethree is a refined combination of the techniques and experimentation’s of phases one and two. In this series size is also experimented with including paintings created in sections. Each piece is a dreamlike mystery of riddled imagery and words woven into a seemingly highly personal, distorted, and sometimes dark image. Several different ideas are overlapped exposing certain sections to form riddles of sorts, leaving the viewer to ponder their relationship and meaning to each other. These pieces are teeming with malevolent images that are part fantasy and part real. 02 Central to these dilemmas is the problem of control. Who should be in control of the learning process? Who should decide what material is important to learn? Who should decide the pace at which learning should occur? Indeed, who should decide what constitutes learning? “Are there any questions?” the professor asked. I raised my hand. “What was the purpose of the first class?” “What is the statement behind that question?” was the essence of the response. Phasefour- 2002 The pieces in this “phase”, the largest with 39 pieces, are of the most varying and document a large range of idea and experimentation. The early pieces of this phase focus on textures and puzzles; pieces complete in and of themselves that can be combined in infinite arrangements by the viewer to create a new unique piece. This allows the viewer to participate in the creative process or connect with the artist. The pieces themselves are very large and draw heavily on the ideas of phaseone but poses a more refined combination of “subliminal” material. Pieces were often worked in every direction for extended periods and linked with other pieces throughout the process, this mural effect furthers the concept of multilayering meanings. Phasefour finds the introduction of screen printing, screening through drapes which creates an “imperfect” print, arbitrary mistakes in patterns represents the chaotic nature of everything. Also for the first time a digital camera was used to document the progression of pieces. The camera was an excellent tool for experimentation allowing for easy reproduction, increasing the speed by which pieces can be created. More and more photography is being used to capture and document images to be used in the “cut-up” processes that begin most of these pieces. The later pieces show more of a return to small quick paint and brush oriented style and a few illustrations. 03 The thumbnails to the left are Mann's most recently finished pieces. As new pieces are finished they will be posted here. "Chaos is the universal potential of creative force, which is constantly engaged in trying to seep through the cracks of our personal and collective realities. It is the power of Evolution/Devolution." Those who are suffering or fear suffering, think of Nirvana as an escape and recompense. They imagine that Nirvana consists of the future annihilation of the senses and the sense-minds; they are not aware that Universal Mind and Nirvana are 1, and that this life-and-death world and Nirvana are not to be separated. They, instead of meditating on the imagelessness of Nirvana, talk of different ways of emancipation and cling to the notion of Nirvana that is outside what is seen of the mind and, thus, go on rolling themselves along with the wheel of life and death. Phasefive- 2003 The thumbnails to the left are the bulk of the work I started this year. Phasefive is currently underway and the pieces thus far are similar in nature from before. There is a considerable amount of experimentation and reference to the previous but as of yet no real direction of its own. Check back as progress will be updated as it occurs. Mann From childhood's hour I have not been As others were - I have not seen As others saw - I could not bring My passions from a common spring. From the same source I have not taken My sorrows; I could not awaken My heart to joy at the same tone; And all I lov'd, I lov'd alone. Then - in my childhood - in the dawn Of a most stormy life - was drawn From ev'ry depth of good and ill The mystery which blinds me still: From the trooent, or the fountain, From the red cliff of the mountain, From the sun that 'round me roll'd In its autumn tint of gold - From the lightning in the sky As it pass'd me flying by - From the thunder and the storm, And the cloud that took the form (When the rest of Heaven was blue) Of a demon in my view. Galleries Edward Hopper House Art Center Nyack, NY Rocky Mount Arts Center Rocky Mount, NC Franklin Square Gallery Southport, NC "Let me go quietly on with my work; if it is that of a madman, well, so much the worse… The work distracts my mind and I must have some distraction." If you would like to contact the artist... email: vcmann@ameritech.net or use the comments box below. From his first heartbeat, man is a creature of cycles – of the rhythmic contractions of the heart known as systole and diastole, of the beat of his pulse, of the regularity of breathing, of waking and sleeping, of eating and fulfillment, of activity and rest. "Who am I? If this once I were to rely on a proverb, then perhaps everything would amount to knowing whom I "haunt." I must admit that this last word is misleading, tending to establish between certain beings and myself relations that are stranger, more inescapable, more disturbing than I intended. Such a word means much more than it says, makes me, still alive, play a ghostly part, evidently referring to what I must have ceased to be in order to be who I am. Hardly distorted in this sense, the word suggests that what I regard as the objective, more or less deliberate manifestations of my existence are merely the premises, within the limits of this existence, of an activity whose true extent is quite unknown to me. My image of the "ghost," including everything conventional about its appearance as well as its blind submission to certain contingencies of time and place, is particularly significant for me as the finite representation of a torment that may be eternal. Perhaps my life is nothing but an image of this kind; perhaps I am doomed to retrace my steps under the illusion that I am exploring, doomed to try and learn what I should simply recognize, learning a mere fraction of what I have forgotten. This sense of myself seems inadequate only insofar as it presupposes myself, arbitrarily preferring a completed image of my mind which need not be reconciled with time, and insofar as it implies—within this same time—an idea of irreparable loss, of punishment, of a fall whose lack of moral basis is, as I see it, indisputable. What matters is that the particular aptitudes my day-to-day life gradually reveals should not distract me from my search for a general aptitude which would be peculiar to me and which is not innate. Over and above the various prejudices I acknowledge, the affinities I feel, the attractions I succumb to, the events which occur to me and to me alone—over and above a sum of movements I am conscious of making, of emotions I alone experience—I strive, in relation to other men, to discover the nature, if not the necessity, of my difference from them. Is it not precisely to the degree I become conscious of this difference that I shall recognize what I alone have been put on this earth to do, what unique message I alone may bear, so that I alone can answer for its fate?" The artist was interested with counter culture and theology at an early age, studying at great extent the works of modern thinkers such as Terence McKenna, Brion Gyson, Gennesis P. Orridge, and many others. He also took great interest in the writings of William Burroughs and Andre Breton, fascinated in their explanations of reality. Fueled by anti-establishment punk rock music and an interest in revolt the artist began exploring the world through clubs and dive bars, exposure to the indie-rock scene. This led to the formulation of ideas about art as philosophy, religion, and escape along with theories on artist viewer relationships (the stimulation the artist arouses in the audience). Mann received a degree from the Academy Of Communitive Arts in Cincinnati (where he witnessed the censorship of Robert Maplethorpe and subsequent trial that followed which fueled an interested in unacceptable imagery). This all led to an interest in expression that manifested itself as theartofmann. By studying the affects of colors and shapes hidden in sometimes violent and sexual content, cutting up old books and newspapers, and creating computer printouts the artist formed the ideas to create his vision of mann’s subconscious. Mann hopes his work will open minds in the same way his was opened by the modern masters. Through his work he tries to show the viewer another way of seeing life and reality that maybe he or she has never thought of or has forgotten about, allowing these dream images to shock, teach, and touch them in a deeply personal way. So that the artist might through his work take the viewer away from life for a short while, and so they might have a new idea by which to escape in… the infinite possibilities of existence. Purchasing The new suburbia is becoming socially as well as economically more uniform; suburbanites are growing more than ever concerned with the opinions of others in their group. In a culturally and economically diverse community, the will of the majority, or the will of those who claim to have the majority behind them, may technically dominate the common standards; but the very existence of a strong minority attitude automatically reduces the acceptance of those standards. A culturally and economically uniform community is different. The fact that almost everybody has similar ideals, standards, and incomes strengthens the group’s hold on the individual, and the fact that those ideals may include such factors as class, racial, and religious tolerance strengthens it all the more. The suburbanite today is acutely concerned with the way he spends his leisure time and his “discretionary” income. So of course was the suburbanite of the 1920’s. But whereas the latter tried to keep up with the Joneses’ conspicuous consumption, the modern suburbanite tries to keep down with Joneses, or to put it more exactly, to consume no more and no less conspicuously than they do. Not getting the balance just right is a source of friction, feuds, and sleepless nights in many of the newer suburban communities. Suburban newspaper columns document this. Conversation among members of the community often turns into a caucus to determine the main average opinion of other people’s purchases. The penalties for deviation can be mentally excruciating. If you are interested in purchasing any of the pieces that are not priced... email: vcmann@ameritech.net or use the comments box below. Pieces that are currently available are priced on the individual pages, some pieces are available as prints either 8 1/2" x 11" or 15" x 20". All prints are made from professionally scanned photographs taken by the artist. 8 1/2" x 11" prints are printed on photo paper and 15" x 20" prints are printed on artist’s canvas. Each print is of the highest quality and is individual numbered and signed by the artist. Original pieces and prints are boxed and shipped UPS Ground each shipment includes some gifts from the artist. Payments are taken by credit card through PayPal, if you do not wish to use PayPal you must contact the artist for payment instructions. All items are shipped upon receipt of payment. Free, For "There is an aspect of human consciousness that fears and is antithetical to change. This type of attitude is standard practice in today's society - hostile to new ideas, transposing small aims and commitments into great ones; a stifling of progress and exploration. Placebos take the place of the real thing and projection onto actuality dismisses reality as a jungle outside the borders of human achievement. Inside these strict parameters achievement becomes the domain of boredom." IO is the cry of the lower as OI of the higher. In figures they 1001: in letters they are Joy. For when all is equilibrated, when all is beheld from without all, there is joy, joy, joy that is but one facet of a diamond, every other facet whereof is more joyful than Joy itself. Courtesy of theartofmann a selection of images is being made available for making your own t-shirts, patches, stickers, whatever the artist in you can create. All you have to do is download the images you like... replace the paper with transfer paper, sticker paper, or whatever... and press print. Do whatever you want with them: put them on cars, trees, rocks, walls, mailboxes, windows, garbage cans, people, household pets, business people, your boss, etc. Check back for new designs. We live in an information society, whose very essence is vague, how can this world be anything but unthinkable. What man prohibits and then commits will certainly cause suffering, because he has willed it double. Born of complex desire, results of his actions are dual: pages of books of the greatest expense burned during wasted attempts at salvation. Salvation shall be all things and true, as is time a treasure found in unlikely places. Our experiences must offer us hope, sincerity, insight, and most important of all: escape. What animal walks on four legs in the morning, two at noon, and three in the evening? Mann Crawls at birth, walks as an adult, and uses as a cane as an old man. "There exists a considerable diversity of opinion among scholars about the nature of the social forces fostering unconventional religious expression as well as about government's responsibility vis-à-vis those forces. The three great profiteers of this unconventional religious thought are the devil, women, and of course rock-stars." "From a child of five to and adult is a short step. From a newborn baby to a child of five is an appalling distance. Society invades the child's world. A child without guilt is thus given guilt. A child without fear is thus given fear. The only salvation offered is through Faith. Faith, it is suggested, ends death. The price of cheating death through faith is, of course, submission." I started with a 24" x 48" frame built out of poplar 1" x 2” boards that I purchased at the hardware store across the railroad tracks, these are usually pretty cheap and can be purchased in bundles of sixteen. After the “frame” is constructed I sand the side of the frame that the masonite gets mounted to, ensuring a tight fit, and then glue the masonite to the frame using finishing nails to secure the corners. The masonite panel that I purchased came from a different hardware store than I usually go. Consequently it is of a much rougher texture, I think this rougher texture will turn out to be the way to go from now on. I repeated the before mentioned steps to make another "box". This second box is then laid on top of the first and clamped together, paying careful attention that everything appears to be lined up properly, until the glue dries. This takes about twelve hours; I usually wait overnight before continuing. I prefer creating my canvases in this manner because of the durability and cheapness of the finished piece. A finished canvas 24" x 48" made this way costs about $ 8.50 which is cheaper that a prepared clothe canvas of equal size. The process of constructing my own “canvases” gives me grounding in beginning a piece of art. I enjoy this method. The next day the pieces are separated and sanded. I just recently purchased an electric sander and a plane; these tools make it easy to finish the sides so the masonite and poplar seem like one piece. This takes some time but I eventually finish both pieces. Originally I made four frames so also mounted masonite to the other two. By this time I am starting to feel a sort of familiarity with each canvas, it is almost like they have personalities born out of their shortcomings. For instance one canvas might be a little crooked, which is how I know it and that feeling seems to translate into the finished painting. The final step is to clean the canvases and fix the surface with gesso. I only have fix one side of the masonite with gesso because the other side is already waterproofed; this prevents water damage throughout the piece life. Spreading the gesso over the masonite can be a very “spiritual” experience. This is a wonderful time to become lost in ideas about the possibilities of the canvas; it seems to me that ideas flow freer when you are engulfed in a repetitive task. I let the gesso dry overnight and then the canvases are ready to paint. I finished the other two canvases giving me four to begin a new series of paintings. The time to think is probably the most important part of canvas creation. I find the time spent while making the canvases is really the birth of the paintings, as I mentioned there is something hypnotic about repetitive actions that allows the mind to focus on abstract ideas. So now I am ready to begin the painting process I have a few new ideas to experiment with so check back soon to see where this goes. Three Years, Three Months and Three Days Used to Be 18” x 24” x 2” Invisible Like Music 18” x 24” x 2” Waiting Like Winter in Ohio 18” x 24” x 2” In the Hours of Folding Flowers 18” x 24” x 2” The Old Home 18” x 24” x 2” The Man in the Moon 18” x 24” x 2” Tend Your Garden (The Seed) 18” x 24” x 2” Nowhere 18” x 24” x 2” Afterlife 18” x 24” x 2” El Camino Del Diablo 18” x 24” x 2” The Black Painting 18” x 24” x 2” The Rings May 11, 1974 18” x 24” x 2” The Darkness of Winter Wondering 18” x 24” x 2” The Post-War World White Frame Galveston White Frame All These Days White Frame The Year of the Catalpa Worms White Frame My Old Man Big Frame The Oceans of Concrete Hunting Someone Else’s Treasure Angel for John I am the River Now 24” x 24” x 2” W. S. and Ida Bell Justice Porter 8” x 8” The House 2, 22” x 22” x 2” Tornado and the Hurricane What Was the Dream Rising as the Sun Yellow Flowers Tobacco Trail When One of Us is Gone Three Years, Three Months and Three Days The Thaw (One) The Thaw (Two) The Thaw (Three) The Thaw (Four) Untitled 16, 8” x 8” Love Going South 3, 8” x 8” The American Cordillera (One) Framed 8” x 10” The American Cordillera (Two) Framed 8” x 10” The American Cordillera (Three) Framed 8” x 10” The American Cordillera (Four) Framed 8” x 10” The American Cordillera (Five) Framed 8” x 10” The American Cordillera (Six) Framed 8” x 10” The Dirt (One) Framed 14” x 18” The Dirt (Two) Framed 14” x 18” The Dirt (Three) Framed 14” x 18” The Sky (One) Framed 14” x 18” The Sky (Two) Framed 14” x 18” The Sky (Three) Framed 14” x 18” The Glacier (One) Framed 14” x 18” The Glacier (Two) Framed 14” x 18” The Glacier (Three) Framed 14” x 18” I would like a good, easy explanation Of this riddle and rhyme This escape and decline The dark in the night Each of us is a moon sometimes, Showing our face full and waning, The tides different each night. It’s magic Not at all easily explained by science and nonfiction. Where does it come from? Lord tell me who. Show me Mr. Rogers, is it made like plastic forks, knives and spoons With mold and a motor, A picture inside of a picture, Trouble close as the thought How can we win if we’re always at odds? Confusion, delusion, People always respond to the truth Courage I've almost had, still always with doubt. When I don't know how to say what I think, When I don't know what I think, only a feeling rotting. Where does thought come from and what when there’s none? Why there's something to be said on the tip of my tongue and yet not a word said. Last night rocking and talking till the sky turned from gold to blue to black. Pictures of the day seen and swept up, It's quiet here cows on the hill birds and bugs sing and chirp. The whippoorwill cries out from the east we talk of family, Mama and Daddy, babies and dying, The banjo sings the lonesome crying song, Our first night at the old home, Yesterday he said sweet things like I make him believe in love. I feel this love I'm in is another world where anything is possible. The thaw I can feel spring nearing even in the chilly morning air, Before the sunrise while frost still lye’s about, The icy edge of winter is fading into the dampness of spring. Birds chirp and sing. In my heart I feel again the warmth of hope, Excitement and peace, The beginning of new things. We were married in the year of the catalpa worms, The lights winked in the soft rain a blessing at the end of summer’s storm. My love is mine and I am his Our song is our life and our love is our work There is no facade for love and strength only steadfast stick-to-it-ness When I sleep I only dream, old faces and make believe. When what I wanted, what I’ve always wanted seems like a drowning dream Where I wake to breath the ache aged our hearts and shook our faith. The excitement of our new life together all but unraveled by loss and regret Still in the darkness of winter wondering what could come but another dark storm? When something is gone and cannot return. What are we to do while waiting and wishing in all directions For a silver lining in our band of gold. Gone away to come rising as the sun. Look at all we've done easily washed away with time marching on, Life goes the way hair grows and cuts heal and wrinkles appear. The way mothers become grandmothers Ms. Holly's turning back to dirt by the creek. The clouds move across the sky, What's new becomes used, A story like a star still shining after it’s died. It's hard to have all these faces in my mind, Everyone gone but still inside me, I don't want to forget anything or anyone that made an imprint of love. The feeling of the leaving, The being and the being gone, Amplified and repeating, Windows that never open, Down the sidewalk, down the road, over the bridge, Past barking dogs, bottles and plastic. Stopping to listen to moving water, Letting my mind go and come back, wishing for things. When one of us is gone and the other’s living on sleeping in a song, Are we the best of mother, I start to wonder, eager, Calm and cooking, we were then; remember? Again, again, every story ending to begin. Did I mention I'm leaving, looking for secrets One day I will think of these times before my adventures of life began, Before I left the comfort of home for the open sky and stretching land. I soak in this moment here at the beginning. I've been so excited for the coming of summer and new life, I feel the river rushing, winding all the places it’s going, All the places it’s been. I want to go with the river, Flooding the field with muddy water. The Rings, May 11, 1974 Leaves to arrive going nowhere, Hazel my closest friend, Hard as it is seeking and hiding Looking and finding, The great big question Why am I winding? It was perfect A ring of roses, Love strong as death. That's where I am In the mountains and sand, Where the sky meets the land, When you are a lion and I am a lamb Hazel my love where does it end. In the hours of holding flowers, Moving water, peaceful dreams, Haunted by beds and lessons, Trespassers and thieves’, Fiery bridges, My true love Moving mountains, Pictures and places, Fist full of faces, Empty nested in the wave of days. And then what a childish thing to think, This isn't what I wanted. Lying awake wondering, dreading, regretting, thinking, Am I ready and for what? I feel lonely for youth and the city For friends I once had, And dreams I used to think. How do you know that you're doing what you need to be doing? Or what you should be doing Or doing what ever you can to not do anything, And what's the difference? What's the opposite of run away? My worlds become so small, I was so sure with such high hopes, And where have they gone? Gone with the fireflies too afraid and always wanting, With empty hands doing nothing. Are these years lost? All these aimless years When you're young you think there's endless possibilities, Nothing but promise You’re yet to see life drag along. Progressing slowly. Still waiting wanting without believing, There is part of me that hopes I have done the right thing, That my life isn't the mess it seems, And that a miracle is just around the corner. All these days that stack in chains, On the scales measured weighed, Separate fiction fact this and that where I'm at. All I know is I will, I will We drove till the road turned to dirt and stone, Winding round country roads. By the light of the shadows We budded and bloomed and drank in the rain, We fought and fussed and questioned why we came. Where am I now, Lost enough to give up? Or mysteriously overflowing my cup. There's just a need for a place to leave, And enough hope to get us off the ground. There was a story my mother told me. I carry it all around, A little girl and a ragged doll, Looking for gold trying to find the reason, But nobody knows, Waiting like winter in Ohio. The rain came and washed away the winter If no one knows there is no answer Down in the valley far from the sea, From the top of the hills where the birds are free, It’s hard to be a friend and a lover and a used to be. We’ve been so many things Your colors change with the day, Time as the sky Blue and white, gold and gray, Like the clouds coming rain, Tornado and the hurricane. Sometimes I'm ready to go up up away, Out of my face and my family name, From my dollars and change. Out of my mind and my long goodbye, From my glass of wine and a tear in my eye, Is there something wrong with me, That I can never be, just be? I need a drink or something to eat Worried about everything I just want to be happy I try to dig down, down to the meat Passed all I see on the TV, TV and then on the streets Its like history’s stuck on repeat! The whirlwind and a trail of tobacco, Out where the wild things lived. Locked behind three iron gates and barbed wire, Waiting for the next Devil’s liar. The whistle of the freight train howls into town Rolling like thunder going, going Fading and then silent and gone. My heart calls out heavy with memory, Driving past streets where we used to live, Seeing my family grow and age and fade. Grandmother. Our family tree full of branches, and from branches grow branches I cannot begin to trace all the paths that lead us and will lead us, My great-grandmother and namesake, Invisible like music, It is a blessing to have an occasion to celebrate and come together, To rekindle our common thread, To see and feel the joy and love of each other, All the ones who cannot be with, Their spirits are in our hearts You're gonna lose your baby face Baby but some things never go away, Afterlife My old man’s been with me through the summertime, Wintertime, all the time, Ghost white goodbye Stack the record player you can't rewind, All the time. The ocean dream There was a whole in the ocean, That went straight to the bottom. As if Moses parted the sea, Walls of water came in pouring, Waves rolling and crashing, The boat tipped over swept in a cloud of water, But for you the waves parted. Faces forefather The storm her daughter Swept your boat in a cloud of water. Walking out on the beach collecting shells, The wind is rough like the sea, White and crashing, You throw a shell back, You look at me lost Wind whipping. I'm nowhere now All the wild places there are to go, All the stranger people I used to know, Nowhere now I knew you then, A nowhere friend, Highflyin’ scattered in the wind I've been here before I've been in the darkness, And I've knocked on the door. Nowhere and nothing But peace drifting between stars Wonders never cease. Isn't it a shame we only know so much, Our knowledge of the past is so limited, Lost somewhere in time. That's why it's so hard to lose someone like Gary, He knew so much about everything He was a bridge to the old life The one Jason is always trying to conjure up. He had all the pictures in his mind–all that was And all the names of anybody you'd care to know. He was the kind of man you trust to know right from wrong. The longer I'm in the country the more I know They don't make ‘em like they used to. There is a gaping hole in the heart of Gumlick, There's a lot of things to think while you're wishing them to be different, Left here in the January snow. I don’t understand why he had to cut them all down Yellow flowers round the barn. They were covered in bugs making love So lovely as they sway and blow with the breeze He went in swinging, Roaring Leaving none The fallen ones laid by the road wilting I’d like to rest my head On the rich man’s pillow And sleep in the peace of mother, The rest of a child Who worries for nothing Safe and sleeping Like dreams that scatter Places and events For every Goliath There is a stone How years slip by We walked to the creek Up and moving Through the mud, Climbing slippery rocks The sunset, sky lit Today melting falling apart The life we leave Tried to chase What was the dream Fading I cannot regret The sun setting It was lovely in the dark His lips unraveled As you wish I could I’ve been pricked by thorns of poison I was sweating, I was working Hallelujah to be a real person I’ve lived on avenues and streets Met pretty ladies and colorful weeds It was love that saved me When I was down on my luck Yada, yada, yada Who’s who What’s what? I was down by the water Down on my dream I was ridin’ Ramblin’ Lonesome and mean I was tired travelin’ Lost in my sleep. Climbing the mountains Of Georgia O’Keefe Used to be a million things A million dreams Living in a fantasy Used to be Used to be and be and eat and sleep Who is that girl? She is deciding Trying Crying Cooking dinner terrified That there is no satisfaction Only the whippoorwill’s song On and on and on. The house is aglow and surrounded by peace A crescent moon glows from the blanket of blue Darkening blue. Stiches of stars emerge. The clouds move over us like ghosts Drifting to the sound in the distance. The trees black against the sky. The old house is alive and filled with hope, Such promise in the sunny days of spring. I am reminded of our first nights Covered in the calm evening When the dreads of the day are over One bat flits, swooping. The cat curled and sleeping. More stars now. What is it we love so much about this faded house? All it’s windows lit looking out keeping us safe As we find her flaws and blame her age She’s seen so much bloom and die inside her The old gray mare’s better for the wear Holding joy’s mystery and sorrow with beauty and pride. I wish I could see all my old friends I miss them when I think of the lives we’ve lived Intertwined and then in time untangled Someday will we be untangled completely My heart aches with love for all we’ve known And all we’ve yet to know. I listen to the thunder rumble as the rain rolls in steady and soft. The grass is green with spring. Wild flowers appear. Thunder and the organ blow of the train through Morgan. Here comes the rain and lightning Cracking thunder cutting. Shall I flee? What a glorious rumbling and rolling. It has quieted all the birds but one Still announcing in the chorus of raindrops On the sidewalk, the barn roof, like a waterfall. The air cool and damp The cat licks his lips Everything getting its drink June died in November when the cold came cancer I went to the auction the lawn strewn with old furniture And wagons piled with wooden toys that sold for hundreds, Boxes of mismatched knickknacks, a miniature dishwasher, salt and pepper shakers Ladies ran up the bidding on the pretty patterned feed sacks I spent a dollar on a bag of necklaces with matching earrings. Two dollars on a box of quilt scraps A half made dress, pattern pieces still pinned to it I drank a Coke and walked around with the rest of the oglers. Hunting someone else’s treasures Old farm equipment, plows, rakes and bedsprings I watch myself pass in a vanity mirror Thinking of the Sunday dinner I sat next to her We were killing time waiting for dessert. We went out to the desert to outrun the cold But I’m too accustom to winter for that to have worked It wasn’t the temperature I wished to escape But a lonely color a useless shade A storm of loneliness emptiness rage Blistering burning endlessly caged You can run but not outrun You can have and have and want As tiring as it can be As much as I cannot see My hand in front of my face Or hear my voice as it comes from my mouth Or to know my place while I’m here While the past can live in such glory Busy in answers and mysterious maze. I am a pirate Sailing the oceans of Concrete that is my country There is so much nothing I do love We either will or we won’t We either do or we don’t Here and there and where and who Don’t get weary walkin’ blues Well if your not looking There’s nothing to see I think old habits like old dogs die slow I think of my voyage What I want to gain What I am willing to loose Sun setting Wind blowing I take a picture Couples together No room to argue Was it “I love you” Or the whipping wind In the charms of my earrings It’s truly fascinating backwards What is there to learn To know then What I know now Experiences Fabled Do right Do wrong Sung like a song Planted like a thorn Repeated like the morning Everyone’s worried about the President The government The money spent They wonder how bad it will get If they can afford to live To pay the bills The American empire on its last leg Let them eat cake Steak, potato chips and soda Let them live large wanting Working to live To pay the mortgage Insurance Credit card debt Bills, bills, bills Food Shelter Electricity Heat Gasoline Entertainment TV TV Everything comes from a seed Your great granddaddy A pesky weed Like your faith Of a mustard grain A big oak tree It’s all the same It’s the oldest story In a lost book It’s the answer to the darkness Tend your garden Do with what you have I thought of my friends in the city I wander if they remember me in the country I’ve been around the country Friend I don’t know who I think I am I’m not a mother I’m not a man I’ve been thinking how and who Where and you and I’ve been in love before When I was a little girl When I was a babe When I was a child And love my only game I’ve been reading the lines on your face It’s seen the sun and come from space I’ve been in love before Three Years, Three Months, and Three Days An exhibition of new mixed media paintings by local artist Jason V. Mann will open Tuesday April 26th at The Box Heart Gallery in Pittsburgh, Penn. with a public reception on Saturday April 30th, from 5 to 8 p.m. Box Heart Gallery, located at 4523 Liberty Avenue, has represented V. Mann for the past three years and recently featured his work in the Edward Zwick film Love and Other Drugs. This solo exhibition will be Mann’s first since the release of the film. The title of the show, Three Years, Three Months, and Three Days, references the duration of the traditional Eastern spiritual retreat, and is the culmination of the work created since returning to the artist’s old family farm. Using as a studio the upstairs room that once belonged to Mann’s great-great-grandmother, Ida Bell Justice Porter, wife of W. S. Porter, Three Years, Three Months and Three Days started to materialize after much contemplation. “I took everything out of the room and painted the walls and ceiling white,” said Mann. “It is very quiet there, and the early morning light from the rising sun pours through the windows, illuminating the room like crystal. “That light is wonderful to work in. I wondered, as I stare out the window at the crows, what is this day, what is this life, where am I going and where have I been? And that is when Three Years, Three Months and Three Days started to come together.” “These new pieces are full of vibrant color and strong imagery, peaceful yet sharp, as I peer down a long line, searching for the end or the beginning but neither is in sight. The paintings are landscapes for the viewer to enter and explore, decoding the meanings behind combinations of clippings and colors, challenging them to understand the associations of the juxtaposed elements and phrases,” he said. “I am motivated by the challenge of defining areas of vast space, and the struggle to express my most inner thoughts and ideas to the viewer.” Along with Mann’s mixed media paintings will appear the prose of his wife, local musician Sarah E. Mann. The show marks their first collaboration of this type. “Sarah has kept journals that spanned our entire Kentucky adventure, and we realized they perfectly narrated the paintings, her words complete the pictures in a way I would never have thought of,” he said. The feeling of the leaving, The being and the being gone, Amplified and repeating, Windows that never open, Down the sidewalk, down the road, over the bridge, Past barking dogs, bottles and plastic. Stopping to listen to moving water, Letting my mind go and come back, wishing for things. When one of us is gone and the other’s living on sleeping in a song, Are we the best of mother, I start to wonder, eager, Calm and cooking, we were then; remember? Again, again, every story ending to begin. Did I mention I'm leaving? Looking for secrets, One day I will think of these times before my life began, Before I left the comfort of home for the open sky and stretching land. I soak in this moment here at the beginning. I've been so excited for the coming of summer, new life, I feel the river rushing as I come upon it, Winding, all the places it is going, All the places it has been. I am with the River, Flooding the fields with muddy waters. MOUNTAIN MANIFESTOS V. MANN Ancient Appalachian traditions meet esoteric mathematical equations in V. Mann’s eye-catching works of art. Mann, a modern-day drugstore cowboy, uses a variety of obscure materials such as snakeskin, found wood from his family’s 200-year-old barn in Kentucky, dirt, plants, and old newspaper and magazine clippings. Many of these pieces reflect his understanding of the Fibonacci sequence (Phi), an equation that describes everything in terms of a spiral. “I don’t think things are linear, the way they are presented in Western culture, but I don’t think life is exactly circular either, as Eastern philosophy describes. A Great Spiral, which has parallel lines in an ever-tightening pattern, makes sense to me. It can be used to describe anything: structures, ideas, or even human interactions.” Although much of his work has been the foundation for interior design schemes, V. Mann rejects conventional ideas of “correct” design, instead preferring to allow the materials to speak for themselves. “These old newspaper clippings have already been viewed by thousands of people, the wood was handled by craftsmen; a bottle in my painting was used by someone. All that history gives the work so much more power than just splashing around some paint and drowning in one’s own ideas.” Vintage, indeed; the rustic aesthetic give the collector an impression of permanence. His work may be found on his website, theartofmann.com, and be sure to watch for his upcoming December show based on his recent travels through the American Southwest and Saltillo, Mexico, at the Kirsten Bowen Gallery. My approach to art involves weaving commoner objects, with pre-assigned social or cultural values, into a visual story, that is at once accessible “at a glance,” in terms of atmosphere and raw visual identification, and upon a closer look, becomes a project for the mind and eye to decipher: a veritable history comprised of objects and symbols critically correlated to the subject of the documentation. I gather relevant artifacts, such as print media, physical pieces of buildings, earth, etc., and collage them to form a visual riddle that the viewer is compelled to understand. Under my proposal, the Stephanie Tubbs Jones Transit Center would become such a collage. Using historical elements from the property’s past, leftover materials from construction, and elements of Stephanie Tubbs Jones life itself, the overall invocation of the piece would be that of a landscape, granting the center a more organic, natural feel. Gazing into the vast open space created by a landscape while waiting for a bus is more calming then staring at a steel and concrete building – and, upon a closer examination, the viewer will find the space not as open as first perceived. These “fields” will be more than visually pleasing works of art, but also bastions of urban folklore and history regaling the viewer with the histories of the Transit Authority, Stephanie Tubbs Jones, and the city of Cleveland, the scope of which is such that repeated viewings will unveil new and compelling elements of those stories. Collectors of my work often remark to me about the evolution their painting undergoes as it is viewed, repeatedly and more carefully; I am told that their stories often surpass the initial expectation of the buyer. Thank you for taking the time to review my portfolio, and for providing this opportunity to artists and the community as a whole. I look forward to talking with you about my proposal in greater detail. This stunning acrylic painting is built into the surface of a wood "box" (see pictures for detail). Mike’s Hard Skull is ready to hang with this wood “box” design, which allows the painting to be framed in space rather than a decorative border. The central figure of Mike’s Hard Skull is eschewed to the viewer’s left creating a sense of tension and motion. Surrounding the figure is a halo of vivid pastel colors, these colors drip into organic shapes and forms. This fuzzy image of women is painted on a collage of Mike’s Hard Lemonade wrappers and children’s drawings, as a sort of satire of alcohol’s affect on the senses. The rectangular blue shape in the right corner is a piece of denim, a torn piece of clothing. The sum of all the intricate imagery of Mike’s Hard Skull leaves the viewer to ponder the relationship these elements have with each other and attempts to make a statement on alcohol/society. This stunning acrylic painting is built into the surface of a wood "box" (see pictures for detail). Madcow Outbreak Spring 2001 is ready to hang with this wood “box” design, which allows the painting to be framed in space rather than a decorative border. The deep blue field of Diagram of A Casket covers a layer of wood veneer and casket diagrams, creating a sense of depth and tranquility. Heavy layering of these materials and paint creates fantastic texture patterns and gives the illusion of subconscious imagery. Diagram of A Casket soothes the viewer despite its somewhat morbid subject matter; one can become lost in the blue field almost like a deep pool of water. The bottom left corner contains a clipping from the Rolling Stones LP December’s Children; this reference to Brian Jones is a reoccurring theme in theartofmann. In this piece the links to water and caskets relates to his death in the pool. Wood grains, rich deep colors, and rippling wrinkles of paint and paper make this piece an absolute pleasure to view. This high quality canvas reproduction is identical to the original acrylic painting. Each print is vibrant and radiates off the canvas, signed and numbered by the artist. Below is the original description for the painting. The deep blue field of Diagram of A Casket covers a layer of wood veneer and casket diagrams, creating a sense of depth and tranquility. Heavy layering of these materials and paint creates fantastic texture patterns and gives the illusion of subconscious imagery. Diagram of A Casket soothes the viewer despite its somewhat morbid subject matter; one can become lost in the blue field almost like a deep pool of water. The bottom left corner contains a clipping from the Rolling Stones LP December’s Children; this reference to Brian Jones is a reoccurring theme in theartofmann. In this piece the links to water and caskets relates to his death in the pool. Wood grains, rich deep colors, and rippling wrinkles of paint and paper make this piece an absolute pleasure to view. My work focuses on a combination of organic materials: snakeskin, found wood, plaster, dirt, and plants with mass-produced materials: print outs, old newspapers, and found paper to create complex engaging works of art. The wood and found materials used in my work was taken from a barn on Gumlick Road in Roanoke, Kentucky. My Great Great Great Grandfather, William Joseph Abner, built the barn over two hundred years ago, I purchased the three-acre lot where the barn, a corn shed, and a garage are located in April of last year. The artifacts within these buildings have provided much inspiration for me; the work represents the continuation of six generations and over two hundred years of family legacy. As you view these pieces, keep in mind where they came from and how they have changed over time, much like the family that built them. Exhibits include: The Schumacher Gallery Columbus, OH; Edward Hopper House Nyack, NY; and M an Ultramodern Gallery Cincinnati, OH. Corporate collections include EMH&T Columbus, OH; and private collections in Indonesia, London, and New York. theartofmann.com {v.mann} was born in the mid-west in the mid-seventies. v.mann [theartofmann.com] received no formal fine arts training choosing instead to earn an associates degree in graphic design from ACA College of Design Cincinnati, Ohio. With only an understanding of the fundamentals and an international background in advertising and retail design, v.mann is something of an outsider artist. His unique style is a combination of several techniques including “cut-up” (Brion Gyson), the application of foreign materials such as snake skin, plaster, dirt, and plants; along with digital mediums to create a contemporary folk art. theartofmann.com {v.mann} 2002-03 exhibits include: Studio ASH Columbus, Ohio, Halloween Tribute and Grand Opening Exhibitions; Edward Hopper House Art Center Nyack, New York, Focus on the Figure; Rocky Mount Arts Center Rocky Mount, North Carolina, 45th Annual National Juried Art Exhibition and; Franklin Square Gallery Southport, North Carolina, 22nd Annual National Juried Exhibition. theartofmann.com {v.mann} is a part of collections in Indonesia, California, Idaho, New York, Oregon, Columbus, etc. For more about the artist, the complete catalog, and purchasing information contact v.mann at theartofmann.com. The wood used in these six pieces was taken from a barn on Gumlick Road in Roanoke, Kentucky. The barn was built over one hundred years ago by the artist’s Great Great Great Grandfather, William Joseph Abner. The farm was eventually split between William’s five children, and the plot that the barn stands on was given to William’s granddaughter Nanny Abner and her husband Frank Race. Aunt Nanny (as she was known) and Frank had a hammer-mill in the barn that was used to crack corn. They also used the barn to house and care for the farm’s workhorses. The farm and barn were later sold to Aunt Nanny’s niece, Rosamond, and her husband Virgil Mann (the artist’s grandparents) who continued to use the barn until the late 90’s when they moved to Dry Ridge, Kentucky. In June of 2004 Virgil C. Mann passed away, leaving the farm to be divided among his five children. A small part of the farm, including the barn, was recently sold at auction. V. Mann purchased the three-acre lot where the barn, a corn shed, and a garage are located in April of this year. The artifacts within these buildings have provided much inspiration for the artist; the work you are witnessing is the continuation of six generations and over one hundred years of family legacy. As you view these pieces, keep in mind where they came from and how they have changed over time, much like the family that built them. History cannot be created and time cannot be imitated, they must occur naturally. My work is created through a collage technique I have been homing over several years, along with acrylic paint and a variety of stains, glazes, and "homemade” pigments from dirt and ash. I collect printed materials (magazines, newspapers, etc.) from a wide range of places and time periods, as well as personal materials (notes, mail, etc.) and wood and other objects from family land and combine them based on their "feelings". These materials touched and created by man are through their creation given a piece of their creator, or in the instance of a newspaper article and other written materials the power of the awareness of the people who read it. I use combinations of these materials to create intricate landscapes that are very deeply rooted in my personal experience and emotional state while painting. The subject matter of landscapes is used because of the ability to represent vast areas of space. Each piece represents a space for the viewer to enter and explore, decoding the meanings behind combinations of clippings and colors, challenging the viewer to understand the association between juxtaposed elements and phrases. I am constantly motivated by a need to create these new worlds, the past, the struggle to communicate to as many people as possible, and my ties to the world and place in it. This stunning acrylic painting is on the surface of a beautifully finished wood "box" (see pictures for detail). OT Culture is ready to hang with this wood “box” design, which allows the painting to be framed in space rather than a decorative border. OT Culture deals with the issue of "mob mentality" and the affects of this phenomenon through popular icons. The surface of the piece is part of an old Charles Manson tee shirt a painted in 96’, on this foundation a layer of newspaper clippings concerning OSU riots in Columbus OH was added. By using newspaper clippings about the event the emotional value associated with it is subconsciously added to the painting. Through the orchestration of these different “emotional” elements and the combination of organic shapes of contrasting colors a somewhat archaic image of mann is expressed. The rich colors and tactile textures of OT Culture provide hours of contemplation and relaxation. 'Oh It B urns So Fast' 2 It's a Spending Market Looking for the Best 16 Squares 57 Honey Maker 81/10 115 AM 9 3 36 ON SY Gol (GR for IS 02) 300G 997 A - B A Cold White World A Difference A Love More Powerful Than a Hurricane A Quick Key Release Actinoida Afterlife Afternoon All the Yellow Flowers All These Days Alligator althorn AMOA An Oversimplification? Angel for John Angel for John Animate Creation Artifacts1 Artifacts2 Artifacts3 assembly At A Time Like This Aunt Nannys Table Autobiography Of The West B•hind Seats Bajadera Barn Interior Barn Window Barn Barn1 Barn2 Barn3 Barn4 Beautiful Isle O'er Beauty Biodegradable Birds Black Boxes Black Boxes Black House Black House2 Blank Wall Blood-and-Sand Bottles Boundary Butte Brating bricolage Brush Follie Buckskin & Rust Budai Luohan Butterfly Cain & Abbel Calamary California Canyon de Chelly Capitulo XX Cartmann Construct Charm Cheat ? 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/paintings/photos/source/page_25 /paintings/photos/source/page_26 /paintings/photos/source/page_27 /paintings/photos/source/page_28 /paintings/photos/source/page_29 /paintings/photos/source/page_30 /paintings/photos/source/page_31 /paintings/photos/source/page_32 /paintings/photos/source/page_33 /paintings/photos/source/page_34 /paintings/photos/source/page_35 /paintings/photos/source/page_36 /paintings/photos/source/page_37 /paintings/photos/source/page_38 /paintings/photos/source/page_39 /paintings/photos/source/page_40 /paintings/photos/source/page_41 /paintings/photos/source/page_42 /paintings/photos/source/page_43 /paintings/photos/source/page_44 /paintings/photos/source/page_45 /paintings/photos/source/page_46 /paintings/photos/source/page_47 /paintings/photos/source/page_48 /paintings/photos/source/page_49 /paintings/photos/source/page_50 /paintings/photos/source/page_51 /paintings/photos/source/page_52 /paintings/photos/source/page_53 /paintings/photos/source/page_54 /paintings/photos/source/page_55 /paintings/photos/source/page_56 /paintings/photos/source/page_57 /paintings/photos/source/page_58 /paintings/photos/source/page_59 /paintings/photos/source/page_60 /paintings/photos/source/page_61 /paintings/photos/source/page_62 /paintings/photos/source/page_63 /paintings/photos/source/page_64 /paintings/photos/source/page_65 /paintings/photos/source/page_66 /paintings/photos/source/page_67 /paintings/photos/source/page_68 /paintings/photos/source/page_69 /paintings/photos/source/page_70 /paintings/photos/source/page_71 /paintings/photos/source/page_72 /paintings/photos/source/page_73 /paintings/photos/source/page_74 /paintings/photos/source/page_75 /paintings/photos/source/page_76 /paintings/photos/source/page_77 /paintings/photos/source/page_78 /paintings/photos/source/back /paintings/photos/source/front /paintings/photos/source/page_01 /paintings/photos/source/page_02 /paintings/photos/source/page_03 /paintings/photos/source/page_04 /paintings/photos/source/page_05 /paintings/photos/source/page_06 /paintings/photos/source/page_07 /paintings/photos/source/page_08 /paintings/photos/source/page_09 /paintings/photos/source/page_10 /paintings/photos/source/page_11 /paintings/photos/source/page_12 /paintings/photos/source/page_13 /paintings/photos/source/page_14 /paintings/photos/source/page_15 THEARTOFMANN | Modern Visual Artist | Contemporary Painter | V MANN V Mann's paintings are landscapes for the viewer to enter and explore, decoding the meanings behind combinations of clippings and colors, challenging them to understand the association between juxtaposed elements and phrases. art, modern art, contemporary art, v mann, theartofmann, artist web page, falmouth kentucky, visual artist, painter, acrylic painter, collage, jason mann Copyright © 2011 theartofmann. All Rights Reserved. V Mann, theartofmann info@theartofmann.com Global theartofmann.com artist V Mann's gallery containing art, bio, and contact information