INTRODUCTION
CHAPTER 1: THE UN-NATURAL STATE OF IMAGES
CHAPTER 2: THE ARTIST IN THE FLESH
CHAPTER 3: DWELLING BEFORE & BEYOND WORDS
CHAPTER 4: PROCESS AS/IS RADICAL POSSIBILIZING
CHAPTER 5: FLUX & FLEX: DE-SIGNING SYMBOLIC PRESENCE
CHAPTER 6: RE: FRAMES & THEORETICAL BIG PICTURES
CHAPTER 7: ART AS ALGORITHMIC (and RHYTHMIC) AMALGAM
CHAPTER 8: PROVISIONAL SPECULATIONS ON FINALITY
CHAPTER 9: THE ULTIMATE & THE IMMEDIATE
CHAPTER 10: DISTLLING THE ILLUSION
CHAPTER 11: MOMENTA OF THE CREATIONAL IMPULSE
CHAPTER 12: ENERGY PROTOTYPES
CHAPTER 13: THE EXTRAORDINARY ORDINATION: DAILY PRESAGE
CHAPTER 14: ON DE-PICTING THE INDESCRIBABLE
CHAPTERS 15-20 UNDER DEVELOPMENT
INTRODUCTION
(Excerpts)
I choose to create art ever-aware of natural process essential to organic surges of life, to BEHOLD the world, not merely look. To become captivated. To deepen. There is a sense in which, as an artist, I am thus held captive by the world.... gc
CHAPTER 1: THE UN-NATURAL STATE OF IMAGINED PLACES
I imagine emerging Archi-TeXtures via sensing the deeper structures and sub-strata of nature, of what might be going in behind-the-scenes. And the same is true with mind: the layers and the levels, and all the gradients and interplays in-between. This is preceded by realizing things are not standalone nouns at all but all-ways interacting verbs: e-very-thing is ~~~ING~~~....
(Excerpts)
Precepts precede percepts.
In my view, new radiant art-forms offer a glimpse into natural process, flow, complexity, reverence, sparseness, vastness, holiness, the sacred, childhood, mystery, stillness, ancient, silent voices, primordial.... The image appears to be imbued or endowed; yet, retains the secret of its origin and destination within its very appearance.
An image "organized" for maximum efficiency becomes a maximally efficient organ of the apparently non-existent. Hence (but still provisional), that rendering which appears arbitrary may, in fact or fantasy, have been highy intended, even if not known (and--possibly--therein lies the truth of the deeper mystery of the mind).
[Note: the wordplay simply breeds the possibilities inherent in and intrinsic to the play-fullness within the realm of language. More than 90% of all of this is merely for personal use; yet, the carry-overs into the realm of artistic creation are for everyone/anyone/someone else.... In my view, we are all-ways luminous energy, all-ready saturated with Radiance. I seek to deepen my knowing of this, to live it, to create from there toward here.
I seek naturally to get out of the way of the natural flow as much as possible, to provide new takes on what it means to be all-ready WITH the world but not looking with or through the usual frames of reference, visual or otherwise.
I embrace uncertain presence of subtle realms to deepen toward luminous mind such as to create new radiant art-forms that offer participants [aka viewers] an ongoing chance to partake of essentialized and highly focused images [destined sources of mind?]--naturally arrived at, intentionally sustained...uncommonly derived.
Art brings to life the dream-seeds of improbable fields. As a wondrous presencing, it offers us a unique blend of multi-perspectives, -dimensions, -tasking to REAL-ize our forever embeddedness, to awaken from deep sleep: to dream awake to awaken to our dream. Art is a portal TO and FROM the inward realms of mind. This is where feelings, thoughts, intuitions, wonderings, cosmic humor, and dream-textures reside: deeply personal, ineffable, buried like ancient treasure waiting in silence with no pre-conceivable map. There is no sequence; only consequence. To not grasp, to not anchor. The goal becomes: How to decipher codes that are precise motions of the invisible, of the deeply secret?
Seeing obstacles in the world evolves into observing the seen.
CHAPTER 2: THE ARTIST IN THE FLESH
Re-Mind YourSelf: Change is Constant: Exorcise Daily. FluX is the name of the deepest of all possible games. Purify to Deepen: Deepen to Purify. Perfection is not necessary as a goal. It is a given all-ready, all-ways beckoning for RE-cognition....
(Excerpts)
BEHOLD ALL, esp interwovenness OF the Flow. Ultimately, nothing is solved, only transiently--in passing--"resolved." Underlying Questions that Promote an Experiential Sense of Personal Deepening (via Felt-Textures related Empowerment, Enlightenment, and/or Evolution) via process of artistic creation:
Where does the artwork take you? How does it move you? How does it affect you? What does it do to you, for you, with you, in spite of you? How does it change your life? Does it re-affirm life? Improve it? Re-arrange it? Present a range of it? Range into the Presence of it [ot IT?]?
I seek to discern deeper qualities emerging (or yet to emerge) in and through artworks: shamanistic, ritualistic, mythical, primordial, organic, archaic, ancient, archetypal, profound integrations, healing, mysterious manifestations, prophetic ponderings, Zen experiences, Satori, Nirvana, Ah-Ha Moments, Epiphanies, Revelations, Optimal Insights, Empowerment at Maximal Levels, deeper than design to the depths of experiencing in real-time the invisible threads of space and spatial coordinations not yet ordained....
I hold that an artist must all-ways be a creature of habitual un-habit for dynamic interplays of color, line, value, texture, and form. This is what promotes inward access to deeper dreamscapes of mind's magnificence and magnitude.
The overall design is merely a "sign" of what has happened, what is happening, and what is yet to happen. With youth-full enthusiasm, I choose to embrace all-ways the dynamic interplay of elemental Earth energies empowers. Artworks, then, offer a chance to disPLAY that compression of forces (aka the Dance of Life).
Note underlying (all-ways possible, yet resolutely improbable) explosive volitility as inherent within deep stillness of the serenely improbable.
I am rarely able to predict the direction of unexpected progress simply because form(-ulation) of THAT particular direction emerges impartially (and partially) within and as a consequence of the activities of the complex process of artistic creation. The velocities of vectors and values of valences remain invisible, yet volumiNOUS in "their" quest for dynamic equilibrium within and through the image.
Get rid of anything that does not belong so you do not long for anything to be.
Consider: Oxymoronic thinking (wordsmytheory) as a stimulation for alternatives and new concepts: intimately peripheral, interim permanence. No closure on the concept enables open field for the conceiving.
To be so inspired that the manifestation of new Beauty just pours out....endlessly so....organically, geometrically, superfluously...........yes!
CHAPTER 3: DWELLING BEFORE AND BEYOND WORDS
(Excerpts)
Words fall short, so images resting in motion (aka arrested e/motion), nesting in line, hold "court" with their silent language, promoting and providing possible paths to deepening, insight, beholding, truth, wisdom.
In which ways are artworks transportive? (To? From? Bridges? Borderlands? Hinterlands? Blockages? Hindrances?) The question is not so much one of origins or beginnings or starting points, which are in some sense traceable, but of destinations....possible departures, probable future locations at/to which one might arrive.... Re: Artist and artworks: Accessing the depths has never been more "necessary" than right NOW.
Creating in the Present as deeply purified as possible, resonating to natural process as echoically as feasible: the artist's task (in this era, but FOR future generations & generators aka artists). Interiors become exteriors via art: invisibility becomes envisioned ability in the hands of the artist who knows naturally AND convincingly how to dwell within and create through domains and dimensions and directions before and beyond words.
Sometimes merely lines "appearing" unexpectedly in or through or with the paint, MEAN so much more than linear or curvilinear. A minor detail with potentially major influences that ripple beyond ....predictable sense....balustrading toward infinity. Vectors often remain silent simply because their meanings are so complex. The levels that make available, accessible, are all-ways open, yet remain all-too-often, unassayed and unassailed!
In the deeper night, stay tuned for the Shadow Box Series, in which it might turn out that the box is just a way of re-emphazing what's going on in the image.
How much can I balance without tipping over? I am aware of rampant energy-polarities on the loose, the interplay of Yin-Yang, free-floating and (with luck--or is it some strange destiny pattern?) free-forming. How do you dance so well without a partner? (Or is that the answer?) Too much info overloads; not enough undergoads.
CHAPTER 4: PROCESS AS/IS RADICAL POSSIBILIZNG
I conceive of art as a real-time prismatic adventure charged with spectral/spectre light, wherein so much is going on in the on-going it's often difficult to "set upon" a fixed point within the field (aka sur-face area, surfacing arena).... Yet, a setting does emerge, e/merge....as an urge....a surge..... Boundless, centerless, endless--yet all-ways coming-into-view, finally focusing, a process both transportive and transient.
(Excerpts)
Radical possibilizing has become a way-of-life. Behold new visual qualities, where the suddenly surprising aspects of Sur-Facial areas become dream fields with quantum leaps all-ways possible. Where-through influences--known and unknowable--are reframed and refracted and reflected: that is, disPLAYED. This is, justifiable Magik, plausible Enchantment, definitive Prismatica.
The deepest of all is the closest not-to-be-had. And so it goes on, ad infinitum. The quest for Ultimate Presencing continues through the creation of new artworks. I seek to merge not with a selected subject matter but with that which precedes and underlies all subjects and all matter.
I am drawn to ambiguity as a source of burgeoning clarity, beholding thus (and being beheld by) the vague and shadowy as stimulating a deeper sense of mystery, so as to arouse a surge to-and-through clarification as a necessity!
CHAPTER 5: FLUX AND FLEX: DE-SIGNING SYMBOLIC PRESENCE
RE: Principles of Elemental Compositions and Structures: identify art "designed" (de-Signed?) for Optimal Performance, Maximal Manifestation, in accordance with fine-grained attunement and powerfully provocative (aka potent) symbolic presences, not to forget mysterious algorithms often of unknown origin. Wave and/or Particle. I believe an artist IS the equation (=) in Einstein's E=mc2. That is, the Bridge worth crossing over, dancing upon, trusting the structural soundness thereof, thereon, and therefore!
(Excerpts)
I accept the challenge to create a sense of vastness in a small space: intimacy, intricacy, intuition, insight, intrique, intensity, intention, infinity, integration, intelligence. Intimacy enables Intricacy to thrive in surprisingly tiny compartments and comportments. Intuition fuels the fire before and beyond theory, offering warmth, light, night-time envisioning. Insight is the peaking Ah Ha!, the oceanic Eureka! the blatant, big-time Bingo! Intrigue is necessary to sustain not only interest but a deepening sense of mystery and the mysterious, the latter being, of course, non-resolvable, hence interwoven with the unknowable. Intensity of focus; yet intention of infinite integration. Intelligence is required simply because the conscious awareness of the entire enterprise of artworking, image-conjuring, deepening is overly [though not overtly] compleX in its wild and bewildering interlacings and interfusions of networks and net worths. [Though this conscious aware itself is not a requirement for artists by any means.]
Quality is key where door is invisible, yet all-ways open to eyes nakedly seeing.
Artist/Artwork/Participant <
Too, how is it that the "participant" [aka accomplice] is present in the mind of the artist Aesthetic Dwelling
Aesthetic Experience
The Ground of Being vs. Being of The Ground: ConneXion!
Process: Develop Language that Reveals InterTwinement and InterPlaying and InterWovenness....not to forget Intra-VeNOUS Feeding Techniques for ingestion of other art that stimulates beyond belief.
A deeper Graciousness. A deeper sense of senses sensing depths via that which appears to make no sense, yet deeply stimulates....sensually....
IRONIC EVENT #4069: An artwork that stands (and passes) the Test of Time becomes, in a sense, timeless, yet ignores in its manifest presence the passage of time as typcially understood. In so doing, it re-defines spatial conceptualizations.
Pre-PONDERING # 983: Is all this "stuff" of the world really Random? Or, is it really Deeper than Design? Bio-Geo Rhythms that are so co-ordinated as to seem to originate from and/or partake of sum primordial impulse [not impulsive]. Conceive of art as/is Connective Tissue! Then things get interesting. Random Ordering: Orderly Randomness. Coherence Theory made-to-order as apparently incoherent dis/Playing of that which thrives below and beyond the threshold of (possible or probable) awareness.
As an artist, i realize (and am thankful) i do not have to solve the riddles of life and living--just be...so to speak...mindfully mindful of them....
CHAPTER 6: RE: FRAMES AND THEORETICAL BIG PICTURES
I intentionally un-frame, de-frame, and re-frame the artwork to envision and embrace and, to the extent such things are possible, embody Big(ger) Picture. The free mind frees the hand to be free. Body-Mind Synergy: inseparable, incalculable. the micro mirrors the macro whenever improbable becomes possibilized. Ah!
(Excerpts)
As an artist I seek to be receptive to Perpetual Beckonings of the Organic Realm, Natural Order, Primordial Flows of Earth Energies. The depth of the equation is equal to the deepening of the participation. In my view, the Earth IS Presentation: as it is IT IS! We are the ones who create Inter-pretation, mind as/is a bridge--a mediating principle--between us and nature. Hence, to RE/Vise Vision, to see with no past, to be on the Earth for the 1st Time, to BEHOLD as much as possible, as often as possible, not to be seduced or lulled into some dreamtime sleepspace by the comfort zone of the merely graciously given and, above all, not to become oblivious to the OM-riddled present of the obvious.
Artistic Process = NOT blindly random, but anything but tightly controlled. Spontaneous, yet politely intuitive. Joint venture, duo-revelatory. Essential Nature of Artist AND Essence of Nature. Interwoven Interplaying. Dynamic Interludes. Diligent Preludes. The tightrope over the trampoline, but higher up and more taut than an a-typical circuslike day in the center-ring [centered ringing] of life forms.
Subtlely, I sense nuanced vectoral influences, inferences, interpretations, and interferences--ad infinitum.... But the deeper aesthetic self in me realizes "The Key" is mostly NOT to be interference; it [me] does its best ---most of the time-- to realize and purify synergistic relationships with the world to the extent such is possible and probable. I REMEMBER NOW: SEE WITH NO MEMORY to re-member everything!
POSTSCRIPT INSIGHT #374: I AM Overwhelmed this specific EarthSpin with generic ZENergy!
CHAPTER 7: ART AS ALGORITHMIC (and RHYTHMIC) AMALGAM
Consider an artwork as Organic Compression, a fascinating composite (compost?) of inexplicable Life Energy flowing and fluxing and flexing as interdependencies and interplayings. This, of course, depends on the artist's artistic capabilities (formulating, rendering) and the beholder's aesthetic sensitivities (releasing to the image, deepening). All the more true with a deep, rich Organic style, wherethrough the image offers Resonance of the highest order.
(Excerpts)
WHAT IF: Non-representational art re-presents the possibility of rendering the improbable intelligible?
< Art is/as Homage to the Invisible.
The artist should be the maximal Risk-Taker, a playful spirit, an exemplary pioneer, the prospector, the optimal Truth-Seeker, superlative Beauty-Lover, scene-enhancer, turbulence embodier, and an a-typical, out-of-the-ordinary All-Around Earth Presence--and, yet, said artist appears to be, surely seems, so much like everyone else, yet dwelling naturally in the deepest of all possible depths: the ultimate confluence of dynamically interplaying energy waves, criss-crossing shoals of ebb-flow currents, of enduring lyricism within a context of its very opposite. Polarity taken to the extreme: X-Stream: where stream of consiousness is superceded by consciousness of stream. Behold! The wondrous incarnation of Yin Yang, exemplified, rarefied, beautified.
Note the value of silence as prelude to artistic creation dealing exclusively and extensively with unique and potent[ial] images that arise spontaneously/intuively from the depths of mind and appear to be highly improbable renderings of dreamscape terrains [terror reigns?]....yet are strangely familiar and surprisingly comfortable..."fitting"....
Favorite Affirmation [said at least 3 times first thing, every morning]: I AM all-ways empowered by the dynamic interplay of elemental Earth energies.
CHAPTER 8: PROVISIONAL SPECULATIONS ON FINALITY
So much in art is pro-/-visional, especially notes and personal reflections by artists seeking clarity: realization of process through revelation of content. [Truth be told, the underlying process retains all the secrets worth hearing.] Finality becomes the realm of non-en/closure, the issuing of the improbable in the Nth degree: the apparently impossible to render has appeared, been born [because borne], birthed. One dwells in silence because that is the ultimate choice, the origin, the primary alpha state from which all that IS becomes what it is. Art that speaks from here resounds, resonates, reverberates in that language before and beyond words, and so is offered or presented without need of trans-/-lation or inter-/-pretation, because it exists in/as the full light of itself. No small task, then: Behold "light" as that which "contains" [holds + withholds] all colors and creative combinations. A tripartite tryptich of content/process/progression, with all the implications, phases, transitions yet to be explored. A straight-shot, you might say, to and from the Commonwealth of Humankind. The artist supplies the heuristic device [one might call it the practical hermeneutic] to PREVIEW and ENVISION the improbable image as on-going goings-on of the dymnamic process.
(Excerpts)
The radiant image lives through the ages and sages, prepares (us) for the ages, endows us as though sages.
Earth contains art ad infinitum: EARTH--GAIA! As "Jewel of the Universe" it is overflowing with magnitudes of planetary r/evolving magnificence, readily available, easily accessible to those who know how to BEHOLD, how to deepen, how to glean the ground of interpretation to allow the offerings of elemental energies to play-out to kind of diaphaNOUS radiance. My hope is that the art I create radiates a sense of mystery, fantasy, and energy. This would then approximate [somewhat] the "flow" experienced during artistic creation [aka "process"].
In my opinion, the artist "speaks" highly of ineffability on a regular basis, offering us a new opening upon the world, beholding so verily much with eyes of a hawk, an osprey, an eagle. So much to see, so much time to learn how, so little to draw-upon to deepen. See with no past as much as possible. The world IS Presentation. We are the interpretaion. BEWARE! Hence, auto-didacticism and discernment become necessities re The Integrated Aesthetic Path as a way of life.
GOAL #17: To render sensibly(?) a sense of the Ultimate within(as?) the Immediate. To thus mediate Transcendence as though perfectly Transparent. ImMEDIATEnergy re a deepened sense of The UltiMATEnergy.
I conceive of art as/is reconstructive surgery, perpetually geared (and gearing up) for new countenances (and ways to be counted), only some of which are purely cosmetic. That is, new takes on the world which is, so to speak, all-ways waiting to be taken.
The suspicions are not unfounded, yet remain inexplicable. The realm under investigation is itself rendered invisible. The lyrical energy waves are awash with lumiNOUS flow-glow.
Each new painting contains dream-seeds for the emergence of (all-ready) futured artworks (pre-figured within ground ). Usually the "field of possibilities" is only obvious after-the-fact, the passionate artist often being rather oblivious during the impassioned act of artworking.
CHAPTER 9: THE ULTIMATE AND THE IMMEDIATE
The artist is not an oracle, but knows something of the oracular qualities of Nature and Mind.
(Excerpts)
I seek the interplaying fusion of Immediacy and Ultimacy: a simultaneous Artistic Challenge/Goal: To Create an image of that which cannot be clearly or completely rendered, yet displays the workings of the deepest interwoven sense of Ultimacy and Immediacy. How to mediate THAT without representation? (The deepest, purest, most improbable impulse: the UR-rhythms....gliding toward Presence.) MEDIATE. ImMEDIATE.
In my experience as an artist, art feels very much like/as/is a poetic metaphor or lyrical symbol of/as/is/with/via Visual Languaging. The underlying organic process of composition seems to like to keep to itself, to keep the fire burning and the secret silent; it's almost as though it [that underlying process] cleverly with-holds the truth-value of Kinetic Stillness. A Vitalist Poetics. An essential minimalism that exponentiates macro-levels.
Emerging as Realistic Improbability, yet highly possible: Art that is vast and fathmomless, yet intimate, intense, intricate.
Challenge #47: to create art that heightens homestasis, that raises the bar on the life-line, that generates and engenders energy waves, that pulsates even when no one is around, that performs in the absence of the artist (even moreso, even better).
CHAPTER 10: DISTLLING THE ILLUSION
In my opinion, viewers/spectators/beholders of a painting is more than participants in the com/pletion of the visual image. They are accomplices in the artful illusion, in the on-going, abstract-art-perpetuated delusion, where-through the image-energy bulges, pulsates toward or with such person. Reciprocity? Resonance? Attunement? Soul-Kin? (aka necessarily indicted) Is a given painting never the same? Or, put differently, is the painting all-ways different for different participants? Or, is the difference a matter of how much "play" is [intentionally?] placed within a painting? Is the painting a playground of differing, just "waiting" [aka all-ways available] for inter/pretaion, inter/polation? If viewers have interests/backgrounds/aspirations [aka "mental stock"] similar to the artist, is it more likely they will "apprehend" and/or "comprehend" the image "closer" or more in line [alignment?] or in tune [attunement?] to the way the artist does?
(Excerpts)
Which is the illusion: artful illusions or life's delusions?
Some artists derange to rearrange, not all-ways on purpose, or with aforethought, yet with such passionate diligence as to seem, so to speak, possessed!
Premise and Promise: intertwined in sub-strata of the impulse, the rhythms not seen, yet appearing regularly.
I note well how strange incongruencies flow together during the creation of a painting. Relationships and interplays between the compostional mind-set/flow of poetry and art (or poetics and aesthetics) could be developed to provide organically luminous possibilities. Artworks are, thus, visual poems dis-playing poetic qualities, with archetypal resonance, echoing down chambers and corridors of the commonwealth of humankind.
CHAPTER 11: MOMENTA OF THE CREATIONAL IMPULSE
I seek all-ways to maximize creational momenta and energetics of artworks such that images re-create same or similar dynamic schemata within viewer/participant/accomplice. The illusions of motion and closure all-ways incomplete, open to reVISION, apparently improbable, yet with childlike naivete radiating.
(Excerpts)
Speculative or Theoretical Paintings: exploratory, experimental (-mental?), refractive, prospective: impetus, impulse. (Note: asap render precisely the extreme difficulty of rendering precisely via words and images.) Revision is language has taught me that clarity is possible, but so often takes time and distance.
Reflections on art by artists offer insights into sub-strata of process, content, and progression (aka the nature of personal evolution).
Strangely, the concept of Simplicity involves and implies a complex process of discernment and selection. That is, what should be left out? What included? Each artwork is a revelation of the underlying criteria of truth "held captive" by the artist. Though, it is perhaps closer to the actuality of things to say that the artist is the captive of the criteria, simply by allowing for captivation of aesthetic possibilities and artistic sensitivities. So much Truth is available contextually but can it possibly be conveyed via teXtures?
CHAPTER 12: ENERGY PROTOTYPES
CONSIDERATION # 414: paintings are/as energy prototypes: signature of same. (Claim it or merely conside it a possibility?) The only place where that particular amalgam of expressive energy will ever occur. A one-time, spatial surge of compressive flow. Particled-wave; wavey particle. Energy surge--lyrical, enchanting, epiphany-like, diaphaNOUS.
(Excerpts)
An artist should be positively maladjusted to anything that would hamper the full and complete manifestation of artistic potential, inside and out. [I was fortunate in 1970-71 to study with Professor K. Dabrowski at the University of Alberta.] Re: Living Your Natural Essence: Get rid of anything that does not belong so you do not long for anything to be.
The possible, however improbable, remains an option, retains an inherent momentum awaiting activation through belief and determination, intention and attention. Strangely, will-power turns out to be just one emotional/intellectual thrust among many, containing glorius levels and layers galore. [But, what would it mean to designate a portion of your daily life [energy] to design symbols that offer comportment to alternative modes of being?]
Behold the very unusual painting (possibly a "break-through" work*) that is all-ways, all-ready silently charged with provocative allusions, re-Visions of its earlier self portrayed merely as possibility in earlier works. We may profitably speak of a painting as a dreamfield of slumbering energy waiting to be profoundly awakened through our deepened (or deepening) awareness. Note that the painting itself contributes to this process and to its own unfoldment of understanding across time: notion of inherent criteria. Surface areas are both provocative and misleading: often simultaneously. Explore notion of Hologrammatical languaging that perpetuates itself through non-steady state (Prismatically Optimal).
[*Implies something has been transcended, transformed, transferred....left behind.....break-down to break-through....necessary and sufficient pre-condition?]
CHAPTER 13: THE EXTRAORDINARY ORDINATION PROCESS: PRESAGE
I conceive of a painting as an ordination, as a sort of sacred process of endowment or breaking-up, fragmenting, of energy membranes. Thus, coordinates change prismatically, ordaining the artist THROUGH and only THROUGH the creation of the painting, of the artworkings [aka aesthetic processing] during creative activity. (The "order" as arrangement or "ordering" as principle is, ergo, clearly vague; thus the energy of the ironic and the oxymoronic flow into the iconic and are, so to speak, perfectly not intact as they seek some sort of perfection!) the perfection of technique does not necessarily lead to perfection. But practicing the technique of perfecting [aka "deepening"] promotes the evolution of the artist toward transient culminations.
(Excerpts)
I conceive of a painting as ipso-facto ad-infinitum momentum: presenting past, passing it, pressing forward into an unknowable future. Quanta Momenta.
The illusion artworks create are not as important as the allusions artworks conceal.
GOAL #58: Discern paintings and discover artists where-through the image contains and radiates the energy and passion experienced when first created.
Art Note # 589: Set out to perpetuate elegance in paintings by sharply and clearly etching with geometic precision. Yet, too, envision other paintings that are potently fertile, organic and orgasmic in an unearthly interplay: a delightful tease, sensuously so, yet graceful and forceful, night-dancing in moonlight. Combine a.s.a.p. strange [yet familiar] interplayins of the exotic, esoteric, erotic, and exoteric.
Imagine paintings that are intentionally non-entropic, "quasi-immortal," concentrated, compressed, convincing, beyond compare, and YET readily accessible to all of all ages all the time.
What are the aspects and attributes (aka Sensitivity Drivers) of paintings that preserve the present and persevere within the presence of that which they perpetuate? [Develop knack for multi-asking re art generically & generally, paintings spatially & specifcially.]
CHAPTER 14: ON DE-SCRIBING WHAT HAS BEEN DE-PICTED
There is a sense in which "descriptive" wordplay of art theory attempts to simulate the process of artistic creation. It often seems to be attempting to mimic a sense of the artistic process (re-presenting, in yet another strange sense, a literary work of art in the "concrete" abstract) that "speaks" to another person, yet retains all the secrets in silence, that bridges the gap between us all, yet retains the shorelines, that resonates beyond intention and belief, yet affirms that we have so verily much in common.
The image must live on its own, leave the nest, fend for itself, never return home, be strong forever: endure eternally, praeternaturally, perpetuate itself endlessly, fore-ever. It is a primordial presence/process/present that invites dialogue but can go [forward] with monologue if it has to.... Ancient Organic Life Energy--still available.
Investigate the incredible value of shards and fragments as primary contributors to the dynamic field (aka surface area; aka dis-playing field) of artworks (prior to creational activity in which, to some extent, they are integrated or segregated: and why).
There is no set formula of process within the temporary confines of that which cannot be contained. This does not mean that the process is random but that it is, in a much deeper sense, a naturally burgeoning surge of intuitive and/or intellectual spontaneity that must be dealt with visually. This is, in a positive sense, an addiction with inherent promise, an obssession with endless possibilities. A matter of being attuned to and in accordance with....
Note on the Obvious, but restated to avoid Oblivion: You cannot perform brain surgery with a butter knife and the yellow pages. Reflections on the notion of having the right tools to do the right job: appropriateness and appropriation. Found objects are not only a free surprise but exciting circumstance of unknowable happenstance.
ENERGYOUNIVERSE: Free Will + Will Power = Power to BE Free, Freeing Power, Empowering Freedom, Free Power....
Master of Arts, State University of New York at Buffalo, Buffalo, NY, 1981 BIO
Graduate Work, Aesthetics, Phenomenology, Purdue University, West Lafayette, IN, 1971-72
Bachelor of Arts, With Honors in Psychology, Rhodes College, Memphis, TN, 1970
MAIN INFLUENCES & INSPIRATIONS
A.R. Ammons, Heidegger, Schrag, Jaspers, Klee, Kandinsky, Whitehead, Queener, Vesaas, Hamsun, Hesse, Cobb, Anker-Larsen, Kierkegaard, Marcel, Nedoncelle, Girard, Underhill, Durant....
NEXT DIRECTIONS
Larger works on canvas. Energy Murals. Books forthcoming: Art of the Image, Seeker & Sage, Aphorisms.
Copyright © 2010 by Gary Clark, M.A.
All rights reserved.
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