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.

Hawk over a farmer’s field


The hawk
that steams in
subtle intricacies

The emotive acrid stress of tears released
from the skin of a planetary erection

The tame bred into our inane fledgling grave
of bursting bound-locked waste,
etched with numinous soul

In the upturned pangs of a universe unnerved
on the psychic-enmeshed phase of atmospheric delight

In the imagined painting of all swaying and crucified worth
fornicating openly against the light paged future
and blunted cross-eyed in a circular maze of her orgasmic ploy for a sorry breakfast

On Monday’s staked rage, we drain and drain the followings of divinity
throughout pulses of grain and sweat in the final drink

Before deciding to cross the impassioned switch
into non-being on the lifted sky
coming thunderous in the eyes and ears of a late transmigration
into a head of wires and a spotted flame that rises broken in the quaking silence of loss
and drowning in the oxygen gush of utter perfection

Bluish gray and the opaque brink of highest terminal altitude
flying still against the belly of earth’s integumentary life
straining in a cursed name to breach the surrounding flesh of unearthly ice
in the telescopic fire of an avian mind,
and sudden grasping with the stretched tongue of passive death,

“a fallen way grows above the ceiling of humanity
in a flutter of fear and reverence for the quiescent vacuum of entire blackness
and spiritual duress”

Loving the sacred breath of hot tainted lag
of the tragic beauty
who became animalistic in a single visceral moment
only to look down on the integral mire of woven screaming
at the blessed forgotten dream of the virgin
in Mexico calling with every figment of pride mustered
from the smoke of ancient impressions of superficial divisions
sweetening the catch into a released cold moon
undone on the back of a talon
seeding the lovers intermingling with the sharp pleasures of stone and grass,
as a feather presses swift under the enjoined sexual tight figures
preparing to create the universal wave of continuity
in the fallen bird’s heart
drifting over untold slow fissures within the fragmented body of self-taught work
that lay sacrificed to the unknowing violent west of paradox in action
dreaming the lucid air and buried with lust in the ashen grave of a mother’s living breast
to answer the prayers of a man resting softly on the back of a sea creature
unmoving and shocked with ruinous leisure
and idle passing.
- date unknown  
                                                                        Inspired by a song written by a friend from Red Deer, AB

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