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.

“Yes, don’t fear”

We say,
to a self gone in hiding,
to the farm bug lifting to the edge of belief,
with love for the food of life
in between fingers, 
stretching and flexing,
in the middle ground,
against a backdrop of fanciful world division,
or burdened blues:

"a woman is dreaming
to hear the pledge 
to the frozen smiles of wide-eyed crowded fields
that grow and decay 
to the orbit of a lunar catastrophe
occurring every oceanic spawning," 

"that ephemeral beauty
we all know to arrive, one day
breathless and raised with red flames of miraculous fatigue
on the shores of the way,"

Portuguese, and embarrassed by the justice of history
and the meat-carved lands of a strong rumour
chewing on herbal tests of pyramid stamina in the old world
towards a new, deathless embrace with the burning and ruthless war
that continues still unsure
at the tip of a teenage nipple, bursting forth
with the blood of the elderly and infirm
moved to tears in the hospitalized nation of economic mutilation
insinuating the shattered designs of the artists
who cry for money on the streets of our psycho-logical disease
amid the buttressed wailing funerals of elaborate priestesses,
nude with slack locks, dripping of spiced vomit

on English assimilation,
on the ethnocidal blushing of whiteskin, drooping
with the unanswered silence of genetic ownership 
for the sun’s own kingdom

blooming with a developed flower
coarse and poor as the ghost’s desert body
and dehydrated Arab morgue of Zionist Palestine
that carried bombs into the home of Europe’s scared, childish heart
and now the ugly American race chimes steadily to the revolutionary drum
with armed blurs of hellish repetition

in the love for a smoke-and-mirrors fall
from the human god, that domesticated plants and animals
in the sanctuary of energy transformed, to a lingering betrayal through lust
for the last kiss of a skeletal hush
fertilizing the absent womb,
never trembling with seed or even possibility
of the staggering release
that floods our empty power
with futile control
and laughs at a havoc
in complete dismay

 Love’s apartment, downtown Calgary, January 2010

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