“I think of my (paintings) as
dramas(he thought of his wriotings as draumas).
The shapes in
the pictures are the performers . . (and) are created from the need for a group
of actors who are able to move dramatically without embarrassment and execute gestures
without shame(its always a great start without the degenerate mongrels of embarrassment
and shame biting at ones ass).
Neither the action nor the actors
can be anticipated, or described in advance. They begin as an unknown adventure in an unknown space. It is at the moment of
completion that in a flash of recognition, they are seen to have the quantity
and function which was intended.
Ideas and plans that existed in
the mind at the start were simply the
doorway(the Aldous mescaline-laced overlayed-Huxley doors of perception) through which one left the world in
which they occur.” *
he thought the
incandescent lit EXIT sign was an exit but
found himself entering something other instead
perhaps the lighted sign should have read ENTRANCE
Rothkos ‘47 quote is delightful
evidence he didnt speak around a handful
of marbles in his mouth
No he did not
if there were ever marbles
then before they met he must have went off like the business end of a sawed-off double-barreled shotgun spitting lethal
flame and double-aught buckshot
his characteristic bars
of cosmic diffuse
color too frightened to
touch each another
which may explain why the EXIT sign fearfully remained EXIT but softly and subtly blinked and flinched and
sighed incandescently on rare occasions suggesting it was something more than an
EXIT
femininely
exquisitely feminine
wide-eyed
doe-eyed features perfectly
balanced on the axis running from its widows peak to the firm fixed point of
its chin
a provocative symmetry
it seemed to him the back of the EXIT sign could read ENTRANCE
and if he spun in circles beneath
it looking up clockwise or counterclockwise(hed
recommend counterclockwise -- to try and wrestle a lil sumptinsumptin back
from Physics raw Time and Nature)
EXIT—ENTRANCE—EXIT—ENTRANCE—EXIT—ENTRANCE—EXIT—ENTRANCE—EXIT
an EXNIT—TRANCE
a beautiful symmetry of You go out You come in/You come out You go in
and the only improvement if an improvement could be had would be if
it were a swinging door that one could shove from either side
no handles or hardware
its faces worn shiny by fearless hands
1412, Friday,
10 7. 15
0047, Thursday,
16 7. 15
