The Texture & Specificity of Life

I like working in sets. I feel that art should smash together form, content, material, emotional, historical, psychological construction into a pure moment, a cast of consciousness. I like to put myself into that cast, to run a program of parameters, again and again, letting drift happen and leaving markers...and then it is done. The program is no longer viable. Because the parameters of who I am, of my consciousness, have shifted entirely. One, maybe the only, reason I see to stick to a program is because it might make a strange thing more beautiful, when their are sets of them...they look better, more coherent, maybe even turn into a better product. Which is why I force myself to run in sets. But now, to figure out how to run sets of sets...it could take a lifetime...and who is going to care about all the stuff that gets made...and, if that is what all this is about...well, it's a cruel irony that what a desperate individualist needs most is the lustful gaze of the many......

I made this drawing. I think I later put a little color on it and Kellie Peach sold it later at the first show I did with her @ Mama Buzz. Just found it rifling through old files. I like the little poem, says: the sadness stuttered rose spread its wings flew.... not away, so much. just around in circles, really. life. out of pencils. 11/23 JQ