HENRY RASMUSSEN
Title: Roads To Rimbo

Medium: Acrylic, Color Pencil And Spray Paint On Wood Panel

Size: 72" x 72"

Year: 2010Title: Battle Of Poltava

Medium: Acrylic, Oil Stick, Color Pencil and Spray Paint On Wood Panel

Size: 72" x 72"

Year: 2010Title: Quarrelsome Threesome

Medium: Acrylic And  Spray Paint On Canvas

Size: 72" x 72" (three joined panels)

Year: 2010Title: Atomic Rose

Medium: Acrylic And Spray Paint On Canvas

Size: 48" x 48"

Year: 2010Title: Fifth Contraction

Medium: Acrylic And Spray Paint On Canvas

Size: 36" x 36"

Year: 2010Title: Beat  82

Medium: Acrylic And Spray Paint On Canvas

Size: 36" x 36"

Year: 2010Title: Siren's Song 1

Medium: Acrylic On Canvas

Size: 60" x 48"

Year: 2010Title: Siren's Song 2

Medium: Acrylic on Canvas

Dimensions: 48" x 48"

Year: 2010Title: Bad Love

Medium: Acrylic On Canvas With Bullet-Hole Perforations

Size: 18" x 18"

Year: 2009Title: Seeing You

Medium: Acrylic And Color Pencil On Canvas

Size: 36" x 36"

Year: 2009Title: Avatar

Medium: Acrylic And Spray Paint On Canvas

Size: 40" x 30"

Year: 2010Title: Wo Man Hood

Medium: Acrylic, Oil Stick, Spray Paint, Rope And Metal Mesh On Canvas

Size: 60" x 48"

Year: 2009Title: Ich Bin Ein Berliner

Medium: Acrylic, Spray Paint, Color Pencil And Oil Stick On Wood

Size: 72" x 72"

Year: 2009Title: Nie Vergessen, Dead End

Medium: Acrylic, Spray Paint, Color Pencil And Oil Stick On Wood

Size: 72" x 72"

Year: 2009Title: X-1

Medium: Oil On Canvas

Size: 48" x 48"

Year: 2008Title: School Of Hard Knocks 1

Medium: Oil And Oil Stick On Canvas

Size: 48" x 48"

Year: 2008Title: Midnight

Medium: Oil, Oil Stick And Graphite On Canvas

Size: 48" x 36"

Year: 2008Title: Birch Morning

Medium: Oil, Oil Stick And Graphite On Canvas

Size: 36" x 36"

Year: 2008Title: American(Mean)ism-Get Lost!

Medium: Oil And Oil Stick On Canvas

Size: 48" x 48"

Year: 2007Title: American(Mean)ism-Big Deal!

Medium: Oil And Oil Stick On Canvas

Size: 48" x 36"

Year: 2007Title: Graffiti Gestures 1

Medium: Oil And Oil Stick On Canvas

Size: 40" x 30"

Year: 2008Title: Winter Whirlwind

Medium: Oil, Oil Stick And Graphite On Canvas

Size: 48" x 48"

Year: 2007Title: Scratched-Out Bauhaus Sketch

Medium: Oil And Oil Stick On Canvas

Size: 48" x 36"

Year: 2006Title: Memento Mori

Medium: Acrylic, Graphite And Silk Roses On Canvas

Size: 60" x 36"

Year: 2010Title: Red Gate

Medium: Oil And Oil Stick On Canvas

Size: 48" x 36"

Year: 2006
Surface Tension Series


AN ARTIST'S ROAD to self-discovery is a winding path, a jumble of detours littered with futile attempts. Rasmussen’s search for direction was no different. His conundrum was this: how would he be able to recapture all those missing years of growth?

The earliest efforts after re-starting his career focused on paintings of trees (Jim Dine’s canvases on this subject provided inspiration). Eventually, the evolution of eye-hand coordination and a need to simplify, transformed the realistic renderings of trunks and bare branches into abstractions of swirls and slashes—the trees became graffiti.

These gestures associated with “action painting,“ and a desire to communicate messages beyond the purely aesthetic, soon prompted the inclusion of words (Cy Twombly’s paintings done during his early years in Rome were eye-openers).

At this time, oil was Rasmussen’s medium of choice, often diluted with thinner in order to create the transparent effects he strives for (the word palimpsest, which describes the faint appearance of older images beneath newer, applies to the paintings that result from Rasmussen’s tendency to work on top of previously-painted canvases). For this reason he used squeegees to apply and distribute the paint; letters and other markings were drawn with oil sticks.

In 2009, Rasmussen switched to acrylic, mainly because this medium allows shorter drying time and thus proves to better fit the rapid, impulsive rhythm of his technique. Psychologically, as he searched for richer meaning, he dove deeper into his subconscious, the focus now changing to expressions of emotions such as nostalgia, pain, and even anger (directed toward aspects of society he considers false and abominable).

As Rasmussen continues his work with subjects of protest, he is also probing other directions, delving into childhood memories in such works as Roads to Rimbo and Battle of Poltava. Throughout his career, starting with his early efforts in the mid-1960s, he has professed his belief in the “gesture“ and its ability to express the subliminal.

The paintings in this section of the book illustrate some of Rasmussen’s various phases of development during the past five years, beginning with his latest work.
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