no enemies to the left

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II
The hardness of recent art—in terms of its difficulty—is that it is stuck in an unresolvable paradox. The validity of the work of art is no longer a matter of its reception. It is the artist's self-aware realization of the impossibility of being other than who he is. Conceptualization is counterproductive, because it proceeds from preconceptions about the self, and the other. It is in thinking like an art critic, that an understanding of the artist as subjective-other, a theory arising from difficulty, and, despite the conflict, accepting the reality that change arises from the synthesis. It is visible at the boundary between abstract painting, formless form, and all that exists as objective reality. With revolution, the creative impact of the fluctuation state of representation will become manifest in its reception. As the artwork gradually evolves from matter, like burning coals kindled for toasting a delicious treat, the aroma of the irrational fills the air. You would do better to wrap all the preceding, restore the subject, than try to satisfy an intangible taste in art. It is a call for resistance. What results is a display of wildness, which afterwards, cannot be explained. This forces a confrontation with the composition of an exact nature as an alternative to random (improvised) aesthetic perception.

III
Limited by the concepts of cultural, political, and personal contradiction within the historization of art, artists exhibit art like symptoms of the unprecedented decline of post-modern rebellion, inherit passive damage in the hyper-competitive social evolution of positive resistance to appropriation, and give evidence of what is, and, in fact expands, the political life that is inaccessible to the artist because it is a plastic, deeply-managed subjection to relations of power. The need to cancel a mindset steeped in political, economic, and what becomes, inevitably, a top-down organization, collecting and emerging to protect a secret wound in the era of the cool, polarizes the aesthetic dialectic understood as artifacts dissected by internal contradictions.


Paintings by Brian Higgins can be viewed at https://sites.google.com/view/artistbrianhiggins/home

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