Tuesday, June 19, 2012

The history of surface. Approaching summer.


Got some New Seeds shaking around the seedbag. Ink on rice paper. Language charged fresh, muscle charged flesh. Sandalwood and ts eliot. Shostokovich, holy lands, projective verse & newspaper excerpts, transfer drawings and vast hee-hawings. . . monotypes, titles forgotten, brokenspine books, libraries empty in the rain, l.a. rose gardens, ecstasy in the vein in north decatur & the cold fear of speed versus the lax heat of dope, coastal miles and the whispering sand of lowtide runs, the push of body through heat and fatigue and doubt. . . . sexual tension or creative tension, an energy source, like the clangor of rachmoninoff, schoenberg, the terse verse of buk, a fullmoon thing, ebb and flow and oxbow.  

i am a freerange mind: Uncaptured, mostly. A trek covering some 38 years of wondering, wandering. Jesus. Je suis. Sex and creativity and running are all just a hunter's instinct. A freudian exertion.

Imagination and sovereignty. Let collapse the constructed mind and quit clasping the umbilical culture that binds. Burn into dance. Pour into intuitive existence and be enraptured by what waits. Amaze yourself. You ARE a phenomenon. Imagine, cultivate, ruminate, be sovereign. Desire something beyond yourself.

Dance your spinning world around, rumi, gibran, st. paul. . . whoever gases the grand ideal.

ii.

Palettes sit newly sealed in white, previous layers of colour covered in strange geography. (I get lost in the narrative of topography, the history of surface.) The dried puddles of once-pigment, ridges of brushes, weight of touch and drag, the valleys where mixtures were diluted, exhausted. Now white. Titanium white. The total of all light and its pigments. A historied topography absolved of specific struggles. Clean. Start new. Spin out of your dwelling, your rut, your denizen, your mindnumbness.

iii.

A coastal run of 14 miles, an unrushed&freelyworking form kicking sand through a earmix heavy on modest mouse and marley. Dehydrated launches of legs lose power, cramp, pull into stomach like a band weakening around a wrap of papers, like a scroll.  The muscle and mind and desire unravel to a lost momentum, the settling of blood in feet and swelling and discomfort and the final fallaway of mind from the work at hand. Meditation becomes something ugly and debased; the act works against the focus. No longer a positive, but a mind full of suffering, the escape of which was the reason for running in the first place. End of a cycle, pause of a process, like knowing that a drawing is complete. Hit the garmin and breathe.

iv.

Form that is not simple, but elegant and ancient. Ephemeral. But above all, Elegant. Miles' sketches of Spain, Stravinsky's rites of Spring, drums and the slap of feet. Ink on rice paper. Sole on dirt. The nimble seriousness of this life is best expressed not in contours, form, layers of language, but in the body. The calligraphy of the erotic, the powerful bending of the yogi's body, the armature of mind in synch with body in synch with trail that runs like rain down a mountain. The cadmium red-orange burn of quads. The dance of the original hunt. The gasp that is a hymn, an Om, a settling of chaos into rhythm. Illumination by way of the physical:  sometimes you must push the body to quieten the mind.  

Let the madness drive.

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