unraveling nitsch

kitsch, notch, nits, snitch, itch – from the online resource word suggestion in the email/word connection i have enabled through the email entry i am typing all of this into.

it is interesting how “pi” exists. how, in a word that feels right or balanced, other words in similarity or rhythm further explain or capture, in exponent, the prime word or phrase/idea. “pi,” because a circle exists in theory even before we “invented”/discovered it. it has always been there. or, it was a latent reality. and “pi” comes from the manufactured or artificial arrangement of a circles circumference and diameter. an eventuality in observation and curiosity. one thing leads to another if relative balance exists and questions are answered in relative forms all the while creating new questions and new answers. ultimately the existence of “pi” is revealed as the layers are worn away.
the same idea of “pi” can be applied to all things. since, even “pi” is “of nature” or “natural”; having been discovered by beings of nature (humans). “pi” is an example of another product of nature. another article or attribute of nature. nature’s “experiment” or it’s latent potential becoming realized: eventuality or conclusion (abstracts of human understanding of existence – because static forms are immediately abstract in their existence. time and change create not end to end but overlapping – so there is seemingly never a static moment. “seemingly” because it is probable if not certain that humans do not have a great perspective of existence-entire. thus caveats like “seemingly” or “relative” are utilized to help represent the cloud of potential and latent elements such as the circle or “pi.”
since we are all part of a whole, relationships are continual. continuum. no end or beginning. connected in ways, indirectly, directly. layered influences.

nitsch is fluorescent lights, it is bodega and deli, and cold cases with stainless steel tops. a scale and makeshift wooden shelves with layered and peeling paint. it is old and continually; it is present and new. glass jars with contents. backlit with culture and comfort. nitsch is the secret notches and divots known to the backs, shadow is envious.
collected dust is a dirt. it is memory. dirty and rich experience. textures high-lit by the present segment. the moment of awareness. the layered and overlapping stumble of perception. epiphany in the closet tangle of christmas ribbons and champagne garland. the treasures revealed in the receding topical; the current sea of possibility. algorhythmic eventualities hone the structure, embrace the foundation.
nitsch is that felt and sparkle in the eye, the corduroy brain in the velvet carcass. stitched and darned it’s days of recognition. the stuffing is tight in its perfection. and loose and torn. it was handmade and tired.
i find the uneven and irregular, the odd and dissimilar, attractive. my gravitations have been relatively and continuously consistent. my whole live (an average of) has been this. damaged is as good as undamaged. old and new – the same. it is to the element of preference that decides. preference, a state created by the gathered experience and continued influences. a box of random collected items that eventually find rhythm and create new forms that enhance existing potential.
i live a life of difference. this is an awareness and not an assignment.
this difference is sensitive and the questions and curiosities it provides for are heavily knotted and twisted. loops of yarn telling and asking of until unraveled. there is a demand, i fall behind the quota, the necessity, the intuitive-urge.
i walk until i float through this realm. a temporary stay. the alley of forward action and notice. there are puddles there and haphazard hoses of gardens and intention. it is not neglect, it is byproduct. it is of the whole, this enriched place.
i am flirting with the environment of foundation. we kiss and create the flow of hidden theory. but we are teased with a touch we cannot have. no embrace because we are nothing in this place. we can only accept our state. an endless awareness, always falling, never landing. continuous and moving.

the nitsch is my love, it is my know. my gatherings. it is clumps of rhythmic experience who have found one another. propelled by genetic beginnings, alignments, and activated by the movement of the mental dynamic. influence and experience are it’s food.

nitsch is the bandaid on the dumpster, it is the lichen on the grave, it is the grass patch on the sidewalk, it is the peeling of skin and paint. nitsch is the darkly scented gaze of gabi. the spiced feeling of her yesterday. it is the see-thru of knowing, the back of potential – it cannot be seen except with reflection. mirrors are needed – glass or friend. seemingly common but not too common. ultimately delicate and rare. nitsch is freckled, it is this beautiful indication, this current that can be seen but not defined permanently. it reminds those who are aware of it of the nature of nature. a reciprocal reflection, examples abound in everywhere. letting us know the lesson is ourself. we are our own medium to mold. our own teacher. our own student.
nitsch is dust in the depression. not easily cleansed or collected. because it is not seen by normal or convention. it is protected from the average of process. but it is there. and can be seen and easily retrieved by those who are already there.

horchata

a season of eyes
bright that floats above
brow in the kitchen

constructs the flavour

of chaos and chance

wooden furniture

of aged cure

shoes

cool air refreshing renews

change and fleeting dew

spin the cycle until it ends

flying down the aisle

out of control and with delight

left as is within the night


the key is to embrace

a reminder and a future

of what you is you
neverending

reflection on a core-level artistic context comfortality

i forget the time but it was perhaps early high school years. i had run into the likes of richard estes and the super realistic movement as well as sandy skoglund and other sculptural forms/installations like that. this time in my life also dug into the bag of previous experiences with my dad or at his house (with his art books) and in the exhibits i had seen as a kid in elementary school or with my dad (they, also having similar qualities to my high school discoveries). i was taken back to this time in high school with the george segal exhibit at the nelson-atkins i went to today. i know his work but it’s different to see his kind of work in person something i hadn't had for this expressioner up until now.

the oddity of missing

i do not smoke and rarely drink but i like the vessels and cultures surrounding those items. but when i go to pick some up i not only feel it an adventure, i am also dissapointed to find that the ones i like, of all that are and remain unchanged, are no longer made or have changed drastically. example. i love the chesterfield cigarette pack but it has changed from the nice script style of yesteryear. you can still find a package similar to the old style in the filterless variety.kools are no longer in the cool package of white with green. now it is mostly green with flash and fade. the cigarettes, at least, still have the iconic kool logo near the filter.michelob lager(bottle) started as a really nice teardrop design during a time(60's) when design was still good (in my opinion). the bottle has changed some over the years but it has fallen to the quick and recognizable forms that the standard beer drinker cares about (which is little - they just want drinky). that is not to say that some do not appreciate aesthetics, association, etc. but for the most part that is not what i observe these days.coors (can) again (1960's) had the cool 3-4 tan and 1/4 silver design. but that has been gone for some time. however, recently the tan can came back but without the silver constrast.since i do not care about the product inside i notice more the design of the packaging and vessel. not to mention that first-off aesthetic and rhythm catch my attention intensley. i love liquor and smoke shops because of the colours and textures and context and arrangement of shape and tone. all the transclucent and opaqueries as well as the reflective glass of case and bottle and see thru lights. the smell and sounds are another element altogether that overwhelms. the same goes for adult-oriented merchandise entertainment businesses and on a similar note - grocery stores.but dang if the smoke and drink industries are clod-knobs at utilizing design. i do have to thank the vice industries for maintaining tangible forms: drink industry still uses glass prevelantly (though plastic is used as well), smoke is elaborate in it's packaging(though they have to be to protect the freshness of the smokes). the adult industry does crank out lots of old tangible and familiar forms of product but they are a fickle sort and because their relative product can transcend physical limitations (like how beer has to be packaged - it cannot exist as electronic downloadable files or games) they are more likely to forego the tangible paper magazine or classic-made metal products (well except for those that require metal in their production). i am being vague because of where i am typing this from but i know your imagination can devise more specific examples.so i don't know. i wanted to find a cool bottle or can. the coors can was ok, but i love bottles. i love metalic gold labels or things gaudy kitschy like that.