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Giant potato for consumption in space Print

Jan Jacobs

Netherlands

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About The Artwork

This potato of thousands of tons, has been designed for fast delivery to heavy consumers in nearby space. Part of the potato will be used as fuel, with the help of the installation, for the two large jet engines. Size: 50 x 60 cm (19.7" x 23.6") Finished July 2014 Background story This painting is also a cartoon. The purpose of the potato in this painting is to provide sufficient food efficiently in space. This could concern the food supply for a more distant space station or, for example, for Elon Musk's Mars project. People want to learn to survive in space and preferably on another planet. Due to the enormous engine capacity, this potato could easily overtake a normal launch vehicle. The further developed skin of the potato far exceeds the heat resistance of a Space Shuttle tile. During launch and landing, the potato is covered with a temporary peel. A temporary tent made of this special potato peel. This phase of the journey is not depicted in this painting. There is a comfortable living accommodation on the back deck, a castle. There are fields, a vegetable garden and an orchard for the crew on the go. At the tip of the left wing we see a crop circle. An inevitable consequence of traveling the universe. It is not known who make these grain circles, crop circles. Maybe the crops will do it themselves. There would then be a collective autonomous vegetative design function, as the crop individuals would have to work together for this. In front of the crew's accommodation is a Bio-ethanol installation that uses part of the starch of this potato to make fuel for the in themselves economical engines. Some offshoots on this giant potato cannot be prevented. When landing in a different atmosphere, these will soon disappear. After leaving our atmosphere, the engines will continue to run for a while until the desired speed of a few million kilometers per second is reached. Then the engines are turned off. Suddenly there is a sacred peace on the potato, unless someone hits the doors on the castle. There is a bulge on the nose of the potato: a play of nature that has been left behind, even in the enormous construction pit where this squeaker was grown. In the painting we see the potato above the sea, at the moment after launch, where the first acceleration takes place. The heat released is absorbed by the sea. It's also safer than over land, where one could easily burn a herd of oxen. The viewer of the painting is invited to give his thoughts on traveling in space, with or without a tuber or fruit.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:10 W x 8 H x 0.1 D in

Size with Frame:15.25 W x 13.25 H x 1.2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Jan Jacobs has been working on his new painting oeuvre since 2014. His paintings arise from his vision of the future, in which other, new forms occur. Yet he can count himself among the modern realists. He is fascinated by the influence of technology on the many facets of our existence. His subjects are about situations in space or on earth with automatic devices, spacecraft, people, animals and mutants painted entirely according to his own vision. For a long time he already had ideas about this future, but how do you transform them into a concrete drawing or painting? He often goes to museums to look at beautiful paintings. The paintings tell him a lot about the way in which a painting result is achieved, real and not real, as in real reality. With Jan Jacobs, paintings arise from powerful images and thoughts that come to him, which he must first allow to happen and which can happen to him at the most unexpected moments. In the office, as an employee of a technical wholesaler, during a telephone conversation with a customer, he can suddenly have an image attack and he then must ensure that the customer does not notice it. Creatures, robots, machines pass by in a colorful procession. Behind the drawing board it is a lot of fun to work out those ideas. They are drawings and notes together on the same sheet of paper. Then he begins with his painting. Since 2014, to his great relief, there has been more structure and clarity in his work and he is able to handle all this form information much better. His oeuvre grows and grows, now that he can place his own storm of images on paper and on canvas.

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