What do we get from art? When we see artwork, what’s unique about that experience? It is a playground where our mind and emotions interact with the free minds of others. 
The retired artist in us feels a certain high to be in the same playground that we discovered when we entered this world. As a child we had a direct spontaneous relation with the world. When we paint or play in the sand, we leave our unique artistic mark on the things around us. Just like art, all the scientific inventions are products of the spontaneous question, “What would happen if…?” This question is also the formula of a child when he or she discovers the world. Most of us abandoned this free play of the mind and lose our spontaneity when the world starts to attack us with its rules. In our maturity, when painting and drawing introduce their rules to us, we discover that we are no longer good at art and it’s hard to achieve high quality in it. We abandoned it, later to find out that no other entertainment can fully take its place. We've been deprived of our first and naturally favorite activity, because there is no easy way to do it anymore. 
But there is.
You can return and swim again in your childhood paradise after getting familiar with this painting process, which takes 30 minutes to learn . It's easy to learn and easy to do. It doesn't requires expensive tools. 
In our money driven culture the most marketing-savvy artists have transformed the process of creating artworks into ambitious projects which are impossible to achieve without loads of money and also hundreds of paid assistants who are there to accomplish the tedious and deficit aspects of creation. The ideas of wealthy artists are executed by less marketing-savvy artists who receive little payment, and the result is sold for millions of dollars. Now we have a technique which resolves that problem for all of us. Large ambitious works can be
achieved very easy and fast, without any assistant. In the creation of any artwork the artist must have a physical relation to their work, even the greatest ideas flourish further at the time of execution. Self-expression is not the expression of other men. We all must play in the same playground as equals. Otherwise, it cannot be called a playground for all. 
No artist is greater then the other. 
Let us invite the three of the most successful artists in the world and let them unite their forces together they also can bring hundreds of assistants, along with their state of the art equipment, to compete with you. Remember, you only have 30 minutes to become an expert in this technique. After those 30 minutes, I guarantee you that in this showdown, they cannot possibly win. You will show up with no tools in your hand, while they carry their heavy equipment. Even in your pockets there will be nothing. But you will be armed and dangerous, having only paint and paper to create your first masterpiece.


This new painting process is a replica of technologies developed by the Industrial Revolution. Why Industrial revolution? Because the new shapes and surfaces, that came out of the Industrial Revolution, have composed the cultural landscape of the 20th century. And the entire cultural landscape of the 20th century can leave its fingerprints through this painting process.
The 20th century began with technological transformations, which sparked the spirit of modernity. While the modern painting  exploring how to align itself with the dynamics of it’s time, the painting process remained technically unexplored, throughout the century.
We have to go back 600 years, to find the last technical innovations, in the history of painting. Back then, at the absence of camera and electronic communication, ‘painting was the main generator of social symbols’. People sow broader world through painting and they also learned how to live in it, by adopting new ideas and values.
Today mass media achieves more, with more advance tools. It’s armed with cameras and computers. The practical potentials of these tools generated universal efforts and resources, in their past 160 years of development.
Parallel to their practical use, cameras and computers created their own masterpieces of art.
Guided by these same economic and aesthetic principals, can we reinvent the painting process? If yes, how to use our hands and the sticky paint, to compete with magical technologies of our time? Let say, we succeed, can painting regain its old power by this?
This humble painting process, controlled by hands, with the use of same paint, can  produce and synthesize, great production speed, extremely low cost,  unlimited size, and high quality,   that cameras and computers have not yet produced in there ultimate visual images.

January 24, 2014

Hratch  Israelian  was born in Armenia, 1956.
He pioneered this Painting Process in 1972.
Hratch lives and works in Los Angeles since 1980
  For everyday practical painting jobs, today we have better tools than a mere paintbrush. Just as in representational art, the paintbrush has been replaced with much more effective tools. Everyone knows that cameras, with the help of computers, can produce a better quality image in less time and offer multiple variations of the reproduced imagery.
However, they can only reproduce what is already visible and tangible without them. The old paintbrush beats them at the presentation of the invisible. When it comes to the visual expression of inner world, most artists still prefer the 2500 years old brush over state of the art technology. In the art of abstract painting, the first instrument that came to replace the paintbrush was not photo art or computers but a piece of stick. More art criticism has been written about the drip-painting of Jackson Pollock than about the artistic masterpieces of the nonobjective photo or computer art. The art world was more excited about the dripping of paint than by the possibilities offered by the digital technologies.

  The reason behind this phenomenon lies within the physical nature of the painting process, which has similarities to dancing and lovemaking, unfolding as a physical expression of the soul and leaving the concentration of that energy within the finished work. This is a tall order for the drip paint and for the other unevolved methods of executions in the modern art, which made painting a less relevant art form, on its way to a technical dead end.

  The act of painting helps us to connect with something deep inside us. The impulses of our soul take the form of physical action and no action is more powerful than the action from the soul. Little children to Alzheimer’s patients experience something special when they paint. But the required technical competency to paint doesn’t come easy, which makes it an unpopular activity in today’s entertainment culture.

  What can be done to save painting from itself, from its shallow oversimplified abstract form, and also from over complicating representational form?

How can the paintbrush still remain the main tool for artistic self-expression? And how can the creation of visual images be any simpler than vision itself which we know occupies a larger part of our brain than speech?

  A technique that has all the right answers to all this questions has been invented 43 years ago and has remained in obscurity ever since. All other relevant technologies that have the resources and the privilege to evolve over those years still fall short in quality, size, production speed and cost effectiveness. The 43 years old technique still remains the best painting process ever created. It is the best in both artistic and practical terms. Without requiring expensive tool, it can be easily taught, while the learning process and its application are a piece of cake.
We have always wondered how an alien civilization would look like. This fascination often stirred our imagination to come up with the imaginary landscapes of a different civilization. Of course an alien civilization (if there is any) will look exotic because of the difference in technologies. Just like our civilization looks different in each stage of its technological transformation. The aesthetic imagination alone could not significantly alter our entire surrounding without the help of the advance technologies. In fact the arena of new technological discoveries has always been the main playgrounds of our aesthetic imagination. Our surrounding changes after we change our tools, then slowly our tools changed us and also the mechanism of our imagination. Our new tools draw the boundaries of our creative imagination advantageously and also disadvantageously. We take advantage of the new tool and also fall in a trap of their limitations. We could have invented totally different tools. What we have in our possession is a single version of the numerous possibilities that could have been invented. Can we find possible ways of approaching to this untapped technological potentials that have been available to us but remained unexplored? 
We can do that with any process Which is simple enough that could have been utilized 500 years ago but also encapsulates few essential elements of our modern technologies. This can be a key or maybe a keyhole through which we can see the possible shortcuts that we have missed. This can also be a unique research laboratory for our creative imagination. This research will be similar to the simple process of drawing. A person who draws a picture doesn't get the exact lines at once, the exact lines appear after he erases and redraws several times.

We see primarily straight lines in the early modern architecture simply because the rulers of the architects were straight. If we change the ruler it will change the whole architectural style. Actually that already happened. When computer programs became the new tools for the architects, we began to see curves that wrap around the shapes of the contemporary buildings. The software that brought these new shapes depends on the power of computers and computers depend on electric power. Certainly this isn't that simple process. These couldn't be utilized in the conditions that existed 500 years ago. Instead, let us get familiar with this new painting technique which is easy to learn and is easy to work with. Unlike computers and cameras the development of this technique has been independent from modern capitalist infrastructure and owes nothing to it.
A process that originated in the world of art, yet reflects the essence of the modern infrastructure. People could of paint like this in pre-technological times, if they knew this technique, same tools and materials was available then, but the painting process makes these surfaces the fingerprints of modernism. This can be proven with mathematical facts. In a sense this is the opposite of “Eolipila” an invention of a Greek named Hero, who living in Egypt around 10 CE. He invented the steam engine, wind-powered machinery, and theories of light that couldn't be improved for centuries, which made his inventions so far ahead of its time. And it took 2000 years to put his Steam Engine on wheels. Industrial Revolution could have happen 2000 years ago. 
This Painting technique on the other hand is a replica of some technologies developed by the Industrial Revolution. Why Industrial revolution? Because the new shapes and surfaces, that came out of the Industrial Revolution still surround us. As you see this painting technique can also show us surroundings that are quite different from ours.