Cyclical Wordplay Artwork

Cyclical Wordplay Artwork
Title: Mountain Reflection on Cyclical Wordplay (original manuscript made into art)

On the Artwork

On the Artwork

By using a spontaneous form of action painting, without touching the brush to the paper at any time, three different shades of paint; gold, white and black, are used to emphasize free form, spontaneous creative expression not only in the written word, but in the space that it occupies. This method of action painting which withholds all contact with brush and medium excites notions of letting pure spontaneity occur through the open-ended natural course of creation taking shape out of human hands (in the air).

This representation of the spontaneous action of free form creativity in writing makes the viewer look at the entire page as one unified expression in the creative form of the particular written piece, whereby the empty space defines the writing as much as the words expressed on the page. Those who habitually write freehand, especially free form, improvisational writers, know that the limited size and type of paper (e.g. whether there are lines, creases, folds, graphics, etc.) inevitably divides up the rhythm of open-ended spontaneous expression.

By utilizing circular objects, such as plastic compact disc panels and other circular objects, I have used a method of action painting where I flit a paint-covered brush repeatedly to introduce a dense splatter effect over a circular form in order to regard the fact that all writing is inevitably formed by the shape of the letter, word and sound through which its expression carries. Another method of action painting brought me to form sizeable globs of paint in shape of an oval, especially at the end of a tail of paint or alone, confirming the universal truth that with free form, spontaneous movement, all form inevitably assumes a circularity (or cyclicality), as represented in the oval, sphere and all other circular formations found in nature that are central to the creative essence of form.

The center of the artwork details a line with a globular oval end protruding into a circular form. This marriage of two different methods of action painting, spraying over a concretized foreign object and allowing natural shapes to occur, is the central image in the piece, which glorifies human intent metaphorically through many complementary symbols, as in the sperm and the egg among others. The globular oval and thick line formed near to the core image represents a leading expression, passing away from the center’s concretized circular form, from which the rest of the paint devolves as miniscule spatial occupations on the page. The rest of the action painting signifies the importance of relatively negligible marks defining a whole expression of greater density and presence.

Note:

The process of creating this piece: freehand spontaneous writing on notepads, transcribing writings onto a computer, editing form of writing into conventional poetics, typing out each piece onto self-prepared craft paper, stitching together each page into a wall mural (or spatial literature), action painting, re-configuring the entire spatial layout page-by-page, photographing and scanning each page, designing the end artwork via computer software

Preamble

Preamble

Opening the page to experimental, improvised writing which emphasizes and attempts a most strict depiction of the spontaneous nature of mind can be perceived with harrowing aspiration in the realm of continuity; that is flipping the page.

As a forewarning of sorts, this collection of writing, as devised for readership, is the result of an editing which has purpose in giving the spontaneous flow of mental activity form. While attempting to convey the refreshing action of letting go, all structure and boundary and, in sense, constructs of mind are dissolved.

The writing asks many questions to the reader: Where do we place ourselves as we remain glued to the mirror image of our world? When do we notice that the contour and shape of the mirror-image reflected into our minds is in fact an artificial; that is reflective function, as opposed to a direct sight? How do we understand and make observations into the absolved outpouring of mental fruition through a most basic, almost instinctual, resonance with words as mere vessels of human energy? How can we instill in the reading a sense of self, a theatrical play of noticing self as natural form, spontaneously resolved and perceived in the moment?

The title of the collection “Cyclical Wordplay” brings to light the foundational nature of creation as a cyclical process, with rhythmic momentum in a constant transition between renewal and decomposition. The idea “Wordplay” refers to a notion that words can be as sounds on an instrument, simply meant to be full to the brim with a particular feeling and raw emotion/thought/idea/sensation through which it is able to carry into a context of form and meaning. So, in a sense, we can conceive of words' symbolic sound, through which the newfound impression of the given moment may relay its inward need to express itself in a very subtle form; through a word. Each individual reader is as an instrument through which that symbolic sound or word idea is carried and resonates with a new meaning each time, according to the particular temperament and character of the individual, allowing that symbolic sound or meaning to carry through them as its basic vibration.

Haunted by the lack of breath.

“An event as likely as this is unfounded
and resolved by superstition,
a false awareness as stupid as the pacifistic angle
that we are all in this together.”

“No. There are tribes,
and factions and split interests,
and we are all told the unrealistic bittersweet glue of division,
that mood, that never fails to involve the spheres in an inhuman effort towards realized entropy,
a part of the impermanent love only felt inside, 
with individual luck,
lonely and indescribable.”

“And we are sour with a forlorn disgust
for the mold that we have cast so brightly
on the backs of our mothers in heat, 
at this very moment,
shrugging the bone-splitting excruciating vein that stands for the truth of every existence always.”

“A struggle to exist.
In any form, taken,
whether through ideology or bread,
the resonance of the painful universal cry
into an imperfect echo that was never us.”

“In the process we have transformed,
and become unrecognizable
as the mirror casting our own reflection dirties with our pathetic work
for the sick sighs that last only in the mind after the inescapable is approached, 
finally
with complete resolve
in the last gasp
before the drop into…”

“Do we leave?”

“We have left, and our question is proof.”

“Knowing where you are is belonging and being at home”

“That is what he used to say…”

“The first among us, before the white claim on our own skin”

“Before the darkness within”

“A time that only exists with extinction, buried deep in the earth”

“Can we still communicate,
if only through our nostalgia,
a remorse for the passing prophecy of that unbroken time.
It seems, now, a place.”

“The importance of modernity is forgetting the relevance of Einstein and Darwin,
the intelligible crisis of acquisition,
as mental matter,
pushed away in favor of the copied flesh
of the breast, ass, cunt and cock.”

“What sculpted stone gave way to the waste of our natural narcissism
with the living reflection of our earth
in communion with bark, grass and cloud?”

“The taste of its grapes,
and the effect on our skin,
idolized and betrayed with the jealousy of the literate
in honor of the power that songs emit into the functional mass of the unaware,
trying simply to get by.”

“Fulfill their role, and cast blame and responsibility
with the authority of a diminished identity
with sin as flesh.”

“The shell as sacred illusion of appearance.
To offer beauty in exchange for humanity.”

“Exclusion by embarking again
to another more
again more
and again…”

Feb 19, 2010 12:02 am.
L.A., brother’s apt. 

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