wink and whisper

poster-knuckle
assignment:  ohe positive
here to say that muustardth
will go well on mashed lips of refrain

charming cleavage on concrete shuns
my bituminous plane as it rises to meat
your understanding

my text sure-spread across breads
and leads giving weigh to slights and sense
in the bereft of white and breath

it is you and i.  or i and i
or i or nothing.  all a tire
rolling our way in the play of
abandoned lot.
grasses will tickle our tread
and we will rotate our perspective
making flopping sounds in the end

pilly blankets make the eyeless istch.

gradated perception

abstract colloquial truths
abstract colloquial truths are facts based on perception, experience, emotion, context, culture, etc. an abstract colloquial truth is supported or maintained strongly by the individual or group. it tends to be a relatively firm belief usually being a misconception of fact. abstract colloquial truths are created, supported, and maintained by static, limited, or narrow-minded associations, knowledge, or thought processes.

immanent- and imminent-fact
immanent fact is something that is a personal fact(that already exists within or of us) but that we are unaware of or unable to articulate in a way that is comprehensible(to ourselves or others). we may “feel” an immanent fact’s presence or effects but do not entirely understand. an imminent fact is a fact that will be present in the next moment or instant. an imminent fact cannot be avoided or hidden it is an abstract idea of something that will happen in the next instant and not “sometime in the future.” an imminent fact can be thought of as a “result.”
perception of imminent fact is also known as common sense.

thoughts on the convention of qualification

art is simple. expression immediate. tangible incarnations; complex and cumbersome.

on matters of segmental appreciation

“it is a one-sided silver-painted cardboard consequence that one foot finds the flat. a sawbuck in the back. spent in futures at the deli on the corner of nostalgia and forth. it will be a big sandwich of broken tooth.”

banks and curbs

the derogatory incarnation of the flattered stone. it is called moss and mold; not too old. moment to moment. but not quite understood. slippery and with a delicate constitution, not of its own but to those clods who find footing upon it’s moistened quips.

mid way

i reflect my own madness. a fun house of mirrors gesturing topically, amusing it seems. a maze of reflection to escape. madness swirls the tube toward the slide of grand exit. afterwards it is the bright light and cloud of the thoroughfare, of cotton candy and allowance spent. thinking, cast off for conventional comforts.
...except for me, standing there in the niche of the uneven rooms of confusion. listening to the rumble of the unbalanced stairs and rolling floors. their action is pleasing to me. their presence soothing.
i am not spun whitening bolt; it is reality- spun about the fold.

lettuce and flies

living abstract lives; most humans are unwittingly bemused by this innate attributal present. afforded the past and futures and engaged by pressured surround, most humans have barely a time for bearings. in-take of world and ground, of infinite and cloud, of toe- of breath.
that we are, is abstract; the knowing of it is abstract. “it depends” changes everything. even the smallest coin means anything; change is change, and so forth and so on any given day, any moment, perception is a screen of dimension and reality.

thoughts and notes on stitsch knotsch tcotz

projection and screen, perception and layer or depth, perspective and peripheral, association and recognition(all def.s), connection and reflection – these elements are/have been part of my continuum for sometime if not longer, if not always, if not for all. recently in thinking about ways to render the segments of my imagination and abstract into tangible forms, i was thinking about creating or capturing imagery that can be or already is high contrast. this high contrast can then be projected or shown on a t.v. screen. i have not tried projection yet, but the glass and illumination of the t.v. screen along with paper over the glass or a distance away, creates an effect that i like. the effect changes with the awareness or knowledge of the presence of the tv and without the knowledge. this brings to point the way in which our perception and associations (amoung others) change. it can point out how we can train ourselves to get past these attributes or how much we are not aware of the influence of these attributes.
the idea that art is in the product or specific process of said product is ludicrous – is nonsense to me. sure i may be challenging agreed on accepted definitions of academia or society-entire, or even in the colloquial influence, but what i feel or believe is true to me despite and considering all that everyone else collectively or individually says feels or acts upon. what i feel or believe changes, is organic, so i have what could be called a “reality based on an average” of my own influence. because i feel that each of our realities, each of what we know is real is based on what influences us directly or indirectly. and the less influence a thing has on or with us, obvious it has a corresponding affect on what our reality ultimately is to us.
hearsay is face value, and is tool besides. that is that, one’s own experience will produce the trust involved which enables us to accept hearsay, or similar, as “reality.”
i can sense the expression, the art i feel is one that has no singular purpose. mirroring existence and life, expression is one facet or segment of the entire but it reflects the whole in its part and parcel. the idea i have coalescing at the moment is one that has been somewhat reoccurring, in relative form, for a decade or so but that has taken on a variation in form. in the past i have expressed this relative way of expression (high contrast abstract) by photocopy. taking my scribbles or the random compositions i find continually (geometric shapes crossing with flowing lines and various coloured blockings and movement seen through a sixth floor window, the reflections of and the shapes beyond mixing to create a moment of inspired expression) and creating from these “scenes” or “visions” a palette or basic language that i can then articulate further ideas with. this is done by copy and enlarging or shrinking or darkening or lightening or degrading edge or quality. meaning or homage or experience, or whatever one may or wants to call it, is inferred or captured or not. i can photocopy and enlarge a street schematic of brooklyn and then, in reviewing all of my gathered bits the ideas and feelings i have, begin to slowly or abruptly coalesce in front of me. it is like talking on a mindstream, without (too much) thought or direction, and finding revelation, awareness, or epiphany from what you are saying in those moments. one can delight from one’s own voice and get somewhat of a removed perspective about themselves in this way. the photocopied pieces come together or suggest new direction. i am the interpreter of this opera, the manager perhaps, not it’s conductor.
i love the texture-entire of the photocopy (the overall presence of the photocopied “product”/result), the utilization of the psychological dynamic of perspective and association to give a new face to, to see the greener grass, to be on the “good” side of the tracks, to offer reflection and awareness to importance, charm, value, to be given the “fresh outlook” on life and it’s components, to deconstruct complacency and routine without complete destruction or unbalanced\unnatural alteration of the individual essence. this same ability to alter the perception or point of view of a human occurs in many things or situations. and like photography (its nature and product being instantly abstract) the photocopy flattens or creates a more static form of recognizable presence or pattern. the same can be said for all forms of expression. they all turn the vast gatherings of experience into concise tangible forms that are more easily transferred, received, consumed, and digested than would otherwise be.
likewise the membrane or screen idea i’ve recently refined also “flattens.” the screen captures various texture and movement but mainly tone. and with the articulation or arrangement of elements behind the screen the resultant “captured projection” creates a relatively “living” exchange and interpretation of expression. in addition to other objects or elements connected with the screen’s capture(everything involved in the singular work/piece) this creates a viable and rich tool for what my rhythms reveal.
light must be involved for the screen idea to work. the “screen” material also plays an important role. in my initial experiments, simple photocopy paper (80% white i believe) was used to capture the imagery from the television tube. the texture and/or fiber content of the paper had a good effect.
the dimensional element of the work product i gravitate towards continues to be relatively three dimensional in presence. elements not element(singular) and multi-perspective or peripheral in nature or presence. that is that, the pieces are speaking in sentences that are read by interaction and not just passive or complacent presentation or audience. of course, what is being shared or captured in any work i do (and i believe any expression that anyone does) is fine-tuned to myself/the individual interpreting and rendering the expression. the use of one form or one series or type, unless that is the natural “speech” emanating from your mind, seems limiting. to me, the utilization of what is available in one’s environment to enable action is what is “right for the job.” whether or not we recognize, are aware of, or choose to act on what we believe is “right” is another thing entirely. tact and common sense (amoung other things) may override or temper our feelings versus what is logical or “right.” so the flat singular object(canvas or flat wall-hanging), as has become the static-and-staple convention associated with expression-forms, is not one that has spoken to me for a long time. when it did speak to me it was only in that brief bit of time that one has when experiencing new forms/ideas/knowledge. still i see how prevalent and accepted this “currency” or presentation is in the continuum of human culture and awareness. but with my beliefs, i do not ban or limit. i should rephrase to say that “i cannot” ban or limit. i am interpreter of existence. i do not dictate what is or isn’t. even if i tried to enact control, the resultant unbalanced state would right itself furiously. control is a misconception humans have. this is my belief based on feelings based on my observations and perception-entire. it is not control we have over our life, it is a percentage of influence. the expression i sense that comes from me is rich with this idea. it reflects this perspective.

reflections from the funhouse

the very specifically worded question: "who is the most familiar human on the planet?"

came about one day after some gathered thoughts and observations needed some attention. point of view, perspective, wonder, question, curiosity, discovery - these things made the above question come together. i did not construct it except in the nurtured alteration of certain familiar or associative words that seemed to want more obsurity than what my knees jerked into place.

the question was "exhaust" and not an elaborate design. however, the question does provide self-reflection, something that i cherish and hope for people. providing a kind of mirror of where the mind is at.for me, the question above came about because of gathered thoughts having reinforced something i cannot help be aware of: that i am the most familiar human on the planet. to whom? to myself of course. it was and is the first thing that comes to mind when the question is asked. each of us have different answers to this question, none of which are incorrect or even necessary. since we are all so varied and separate we each hold our own answers and reality. and as living beings we are continual thus our answers become the steps for new questions.

the question remains relevant to each of us on an individual level.

we each decide what is.

another question in the funhouse (with reflection)

what happens when an “artist” looks in their mirror?

they "see"

question in the funhouse

who is the most familiar human on the planet?

see what we see

knowledge does not create sensitivity for me. it enhances understanding, enables awareness. just because i realize the differences does not now give me the “right” or make me a “whole new person” or someone that is now more sensitive because i realize it. that is as trivial and nonsense to me as are impulsive trends. do i now see clothes that were not there before? naked is naked.