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.

When No Stars Appear


When no stars appear to welcome the scent of leaves,
no pride is released,
the empiric beat within goes to sleep,
dreary rain pressures the snoring gruel of worldly morning,
children hear the weird angst of their father serpent learning a new spell

in the livid pull of train wreck desire
the followers’ sneering crimes become awake
to the rush of the wading horror
that thrives innocently on beer and hate,
while our nonplussed singing escapes into the cruel, driven spines of the wicked slink of fame
that shines like hosts in a steaming ballroom of creative play
and shaved rasping throats blunder over towers of hypocrisy,
engraved mores of hunger and celebration link together within insane, aesthetic duality
to please the entranced few, 

in a skinny pathway across ever-shrinking pores of history
wearing narcotic bracelets and shaming our alien tours with priceless need
in the random chores of spurious fornication
on bedside hordes that tame the blue African skies to dried jungles
that feel free with deserted lies in the political waves of a corporate, shark-ruled tribe,
swearing and leaning into the hounds of biblical law

at the foot of copied royalty,
images of a curse emanate clearly from the anxious gore of the Queen’s swollen photographic paste
that fires the furious majority corpse-woven emotion, 
against the greed and force of a colonial tour
that imagines caves of settlement prized in the outdoorsman’s weed,
to be bought and traded for the value of life
toward a compromising, swift vulnerability
and still we fear corn/maize,
as the sacred ear of landlocked peace
and relief, from the pain of English greed

damming waterfalls in the didgeridoo light of a fugitive 
from the muscular breast of musical moods
blended in a spastic trust and unblinking tomb of a bedroom at noon
that thing lounges immobile in a downtown moat of antagonistic blame,
the weak time order ensues in a blistered, flat dome of wind
rousing us to walk in sleep and dream the East
away

sense wishing 
in her Mayan home
that rings with such personal truth,
unknown 

 Love’s apartment, downtown Calgary, January 2010

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