The iPad Saves My Sanity!

If you have read much of this blog, you will have noticed that I dearly love gadgets.

The iPad is a little pricey so it took me a while to "talk myself" into getting one. However, had known how much it would help me in painting a portrait - I would have done it much sooner!

You're looking at the cheapest model iPad with the generic black case sold in the Apple Store. I applied a clear plastic to the surface to protect the screen.

I clipped it to my easel with an ordinary hardware store Electrician's Clamp and a rubber band holds the cover back.

The iPad screen has a very high resolution and I can - with a touch of a finger - enlarge and move a reference picture around very easily. I can paint 10+ hours without having to recharge this device. (I can also listen to music or audiobooks as I work).

The advantage of the iPod screen is that I can now see a variation of subtle tone - more than in any photograph I could ever print out.

This gadget is an ideal way to display reference photographs - and my portfolio.

It is is amazing to me how many of us artists have really poor vision. This gadget allows me to blow up any feature and actually SEE the structure.

I can paint faster, more easily and more accurately now - my only regret is that I didn't get an iPad much sooner.

What is “BuildingWhat?”

Supposedly we artists are trained to "see" what we're looking at - HA!

On 9/11/2001 I couldn't believe what my eyes "saw' on TV - so I believed the lies that they told me instead.

I suppose it made me feel less frightened to "know"that the crime was "solved" within 24 hours and that we "knew" who did it - just like on a TV Crime Show!

If (hopefully) you search for the truth of 9/11 - you'll find it is like trying to take a sip of water from a firehose. There is plenty of evidence. But if you're going to "see" it - you have to look.

And for many years, I am embarrassed to say that looked and acted like this:

So I'll share this worldwide campaign with other artists to raise awareness of World Trade Center's Building #7 in the hope that you will be able to "see what you're looking at" too.


Seen once on mainstream media on 9/11/2001, this mysterious building #7 is never mentioned again - not even in the 9/11 Commission Report!

More than eight years after the tragedy of September 11, 2001, New York Supreme Court Justice Edward H. Lehner was hearing arguments in a courtroom less than a mile from Ground Zero about a ballot initiative to launch a new investigation of the 9/11 attacks.

When the lawyer for the plaintiffs sponsoring the initiative explained that the 9/11 Commission report left many unanswered questions, including “Why did Building 7 come down,” the Judge replied quizzically, “Building what?”

Like Judge Lehner, millions of people do not know or remember only vaguely that a third tower called World Trade Center Building 7 also collapsed on September 11, 2001.

In any other situation, the complete, free fall collapse of a 47-story skyscraper would be played over and over on the news. It would be discussed for years to come and building design codes would be completely rewritten. So, why does no one know about Building 7? And why did Building 7 come down?

The answers to these questions have far-reaching implications for our society. The goal of the “BuildingWhat?” campaign is to raise awareness of Building 7 so that together we can begin to address these questions.

What is Building 7?

Building 7 was a 47-story skyscraper and was part of the World Trade Center complex. Built in 1984, it would have been the tallest high-rise in 33 states in the United States. It collapsed at 5:20 pm on September 11, 2001. It was not hit by an airplane and suffered minimal damage compared to other buildings much closer to the Twin Towers.

Watch footage of the "collapse" of of Building 7:

This is the location of Building 7 in relation to the rest of the World Trade Center complex. It wasn't hit by an airplane - but it "fell down" is America's biggest "secret" hiding in plain sight.

To learn more about World Trade Center Building 7, see: 7 Facts about Building 7.

Artists, believe your eyes:
If it looks like a controlled demolition, acts like a controlled demolition - it probably is IS a controlled demolition.

Here is the evidence (with links):

And So,
Dear Readers,

My Father, Carl W. Christensen
20" x 24" Oil on linen

I'll leave you on the 9th anniversary of the 9/11 attacks with the words of my father (Chemical Engineer and Inventor) who said:

"Most people see - but they don't observe."

And he sure was right about that...dang.

With Love,
Karin Wells

Observe the Slideshow above and note that you're looking at Controlled Demolition.

Please join me in the growing 9/11 Truth Movement - there will be one near you wherever you are in the world. We're spreading the word however we can....we have no choice as the media refuses to do its job.

I am now a proud signator on:

Please look at the evidence and join me.

A Rediscovered Masterpiece - Last seen in 1828

It is a rare treat to see such a beautifully painted head.

The Art Institute of Chicago has a landmark British painting: "The Captive Slave" (1827) by British portraitist John Philip Simpson. It has not been seen in public for 180 years.

Here is a detail.

This is the entire painting and it clearly displays Simpson's tremendous technical skills.

John Philip Simpson was known primarily as a portrait painter and was once a studio assistant to Sir Thomas Lawrence. In 1827, Simpson took a great professional risk to create a work that expressed his deeply held anti-slavery beliefs.

X-ray photography revealed that Simpson composed "The Captive Slave" on a used canvas, which had been previously painted.

The fact that he painted it on a discarded canvas suggests that he made it on impulse, and of his own volition, rather than as a commissioned work.

Douglas Druick of The Art Institute of Chicago described Simpson's engagement with a politically incendiary topic and suggests that the painting was intended as a condemnation of contemporary slavery, and a personal declaration of support for the Abolition Movement.