Manifesto of Art (revised 6.10.25)

The changes visible at the boundary between abstract painting and formlessness and form, are that it exists as a definite object. With change, the real impact of the fluctuation of search, and emerging physical properties, will be revealed as the signifiers of the work. The meaning of the work gradually evolves from the color yellow, to burning coals, as the reason for the work fills the air like smoke. You would do better by wrapping all of the preceding, restore the subject, and in that way satisfy the exception to color in painting. As a framework to push signification, it is an instance of expressionism, and after examination, difficult to say what it is. This creates a time and its trace, as present in the composition of the extract as alternative to color, or intentionally, added to the random or improvised aesthetic merit. There are thousands of choices and options, some of which are elegant and some that may be inconsistent. About how you are doing it, it is very difficult to make these decisions as you make them faster. They will affect you sooner or later. As a professional artist does whatever needs to be done, hackers are the ones who can do things, and imagine that others cannot because they have lost their mind. Because of the appetite for intellectual curiosity to understand what it all means, they can look forward to experience in a very wide field.

It is political and experimental, with the ability to understand materials, therein the unscripted story, however addictive. On the other hand, the new aesthetic forms of the same new image analysis, its synthesis, occur with regularity. It is the site of unknown stories that hide a deliberately tendentious choice, of sociology and art, through the work of contribution to art through a narrative patchwork. A small selection of pictures, sometimes with hysterical scenes of the ghost writer in each story, and strange, Surreal sense of alienation during the construction phase, and at other times moving with the calm charm of extensive depictions. Include found art, and all the people involved in daily life attacking the concept have to be placed on diversion so that the work can take place.

Disorder is a surplus of chaos. The system of chaos is unpredictability as such; the confusion being over the fact that the present system cannot determine the future. The slightest variation in input can cause a completely different outcome. It may act as a typical attractor model that appears to the viewer. Over time, the accumulation results in chronic surplus. But because the control of chaos cannot be reduced to a method, you have to balance tranquility and anxiety. Even so, it is like a candidate for a powerful, loving, helplessness if only because it is so unpredictable. Despite this, waiting for an unasked answer to indifference is unacceptable, in spite of the many who disagree. There is no doubt that you will spend a lot of precious time resisting, and, probably, fail. Failure is really a sense of the world as being forced to do, or destined to be, or as never really being responsive, here, at this time, or in the time to come, the always here, with the fateful knowledge of what is, and how the turning page is somehow responsible for the failure I want to be my mine, alone, knowing that all I really want is to volunteer. 

But despite the fear that we are ignored, in the long run it is we who ignore them, and leaving behind all who struggle with the sheer volume of the pages, and with infinite patience, and still more patience, unimpressed by the always-existing permanence which sits and calls itself that which cannot be denied, my answer is that the kind of partner, who, without realizing it, spends most of our lifetimes waiting for this faithful, urgent, longing, a partner whom we can call our own self. The object of the game is not patience. We do not play at how we will die. Which is less important; the key to the process, or the purpose? Let me say it again; the world is going to continue to be dangerous. Let us not destroy the hope, shall we, of the passing of these mistakes, because your way of life is a tragic world of chaos and confusion. It is painful to know injustice can be used freely to interfere with the game. It is like a mistake on paper that is really only in the mind. You do not know it is a dream and complaining will do no good. The repetition of this narrative's errors, and its terrors, under some authority magnifies errors into amazing truths. It is clearly not beneficial, denoting the ability to protect, and strengthen, the core of awareness.

It was born of what we were not told, because it was our own deception, where there is no negotiation when we are alone. We make our own decisions without being displeased by some other’s sensibilities, but it gives one the feeling of a wider world, with the possibility of love. To become dream friends is to love the psychological resistance where it is about feeling more than appearance and with an unwavering attraction. The world is never willing to just accept a moment of intimate silence and a dream of being somewhat more than a common stranger. The most obvious decreasing fingerprints of the root of all things, as mobile, and rotating in the glow of rare earths, is from the outset an apparent (what may be called) Freudian slip. What is a fan blade, rustling back and forth, and triangular piano if the game is rigged? Every 15 minutes, a black and  white video becomes erect, then gradually fades, becoming cold and wet. It looks pretty grim some days. Boring games have endless individual piano notes that ever so deftly criticize repression -a credo of great uncertainty. 

I am a hard judge to decide one thing is more important than others, so I'm trying to make no decision; "Select a topic," so I think, "nothing is decided until it is decided that all is decided." As far as ruling that it does not worship the sex ego style, it goes without saying that media, art, film, fashion and publishing stand in an array like merchandise in a galleria mall. All art is conceptual. That, of course, means that if it does not contain the point that it is neither good nor bad, then this statement is a shocked, humorous allusion to social gold plating. It is an il-liquid asset, and all joking aside, lessens the impact value of a somewhat thin faith in how "artist" came to mean a guy who is complicated. I once grew orchids in my head, full service claustrophobic terror syndrome points and white ball shots, for pleasure and excitement. Considered as artifacts in a glass cabinet, row upon row of nails narrowly peeling an unstable line, it struck me that the wall and its shadow are but the projection of what we have seen. The undeniable fact of the matter is that without gaming in Las Vegas, there would be no "Vegas." Gaming, and gambling, are the economic engine of prosperity. It is equally obvious that gaming is just part of the story. People keep coming. And coming back. 

If the artist makes the audience see the world differently, it is because he is intemperate, with the terrible feeling that he cannot say what's on his mind. "They are very interesting," you say. "Visually or conceptually, there is a feeling that what you do resembles playing an instrument which is out of tune." Like a German artist, imprisoned for many years behind the white wall of a gallery, it raises the earlier question of the check, a faith which wants to be taken seriously. And yet we laugh when, perhaps, it is we who are not making sense. The potential change in the original purpose of the doctrine and requirement that we consider this world, which is neither fair nor equal, is something like a choice without making a decision. A special amnesty for artists seems to be emerging.

And then there you are, doing what you do best, us and them, communicating with each other, sharing the pleasures of the text. We must condone writing the normal way when it comes to life as the experience of art, and then, believing it to be the work of art, and with a strong sense of order, to provide an outlet for the expression that can only be what we daily feel on a personal level. We are, anyway, free to put into words what we know this personal experience already knows. There is this, hmm, scalability that is assumed -like when you are in bed, and what you feel is necessary, an important insight into the meaning of life. To have repose, complexity, and reflection in that way is important when, in the middle of the night, the heart races, as one is writing to a friend only a little less than all that you feel. Waking is a very personal act, as much, or more than, performance, a sign of our world in constant change. 

By collapse of the system, this equilibrium is defined by its inability to fall into complete chaos. Collecting art when there is no composition, above all, the system stays balanced. The paradox of the order and chaos of art is the improbable merging of combinations of porous life, and of the raw medium, the character of which has been specified for the chosen subject. The situation is so bad, that, brittleness having been established as an offset, matte gloss ink becomes the carbon copy. Playing against these are the network and complex relationships between the various methods of production and collecting. For mass production, but for the armor of the means of production, as well as the resistance of one view, has made all of this established with an abstract, handmade, and classic technique that is most liquid. Equilibrium is treated as a physical domain independent of parties, of tribute that provides energy, structure, and stability, and with the result that it contributes to an integrated component. At present, all physical things, as long as they are philosophical, are not just a matter of balance and equilibrium, but of problems of working, and the stability of the system. It's as if you (as a social monad), were both mathematical, contributing to the stability in question, and contributed to the equilibrium with a constant surface tension unique in life in a sharply defined area. 

Balance, composition  of  atmosphere,  and  at  the  same  time  the union of the border, between a subjective and universal vocabulary, an officially unbroken mechanical state, gave diversity to the moving subject. Sign the fable with a metaphor, and it can upset the balance of detail in history. The art world is tilted, for its part, and will cover the missing loops with excerpts from the middle, as orchestrated beauty. I seem to be a movie, similar to a home movie of people unrelated to myself. Viewing such scenes as an exhibition, it may be reflected that the non-working items of art are a kind of reaction to the need for productivity in utilitarian society, and the of problem of information, in particular. Question by question, alluding to a specific event which has erased private partnerships, without the need for establishing the event itself to undo what cannot be undone, that it is friendly enough to be subjective in nature and universal. And why? This will be reflected in the context of the languages of different cultures through a procedure in a spatial representation of the effort to overcome the limitations of the medium. 

Bringing together the Great Work of exploring the possibility of a historic place in the physical property of the space of an expanding and reproducing monochrome, tied in a completely wrong view of the efficient, dual-screen photocopy montage of empty rooms of equal size, thickness, and trace content. This practicality, the anchor of the art's randomly vibrating plane of nodal social forms, teeters on a tilted side panel, a gaming metaphor heightening the mind. Here, you can treat yourself to ridiculous visual and literary imagination, emergency flights of fancy, far, far from the static modernist norm. The frequent and illusionist space of these images, while your favorite scenes play with meaning, is mixed with mythical creatures, future architecture, mathematical sound, and Totem poles in shining armor. It is an indicator of the balanced styling of the illuminated manuscript as a kind of banner, marking the page with a vertical stripe of identity. There are, when you're working on art, historical communications with others, and sharing without knowledge, of the text. We must continue writing the normal process that comes to life as experience through art, and then, believing it to be a work of art, to look for an outlet that is similar to how we feel on a personal level. We are, anyway, free to put into words what we, as artists, know, that what is personal, experience already knows. There is a scalability of the minutiae of feeling that is assumed, that you feel is necessary, an important description of the meaning of life.

The real sense of losing oneself is in an explosion of hidden information and fragmented constructs of various meanings within the parameters of abstraction, color, space, thoroughly exploiting the emotional  kaleidoscope, and serving as a platform for discovery. You may decide that this painting is an important public announcement of a new imaging technique to project a scene using a motif characteristic of the archaeological exploration of dialogue between the virtual and the material realities, including a deep interest in the positive development of style. I am still dealing with appearances, while maintaining the feeling of the subject. Formally, to fire our curiosity and fantasy in order to manufacture the positive impact on the brain, the viewer was asked to consider the meaning of sense data, how these reflect the internal logic of the subject. It is essentially looking forward to making a difference between the technical form of the intangible weight and loading time of the existential moment, contrasted with the cultural dark side, through the subconscious psychology of memory.

Artists take raw materials, including consumer products, unique valuables, things of unknown or of little use to others, anything, that is, which has surplus value. Anything not absolutely essential has surplus value, and is, therefore, redundant. Art is simply redundant. Get over the guilt. Alternatives to material criticism, if it is a work of art, be they in an art gallery, a loft, a studio, count as such. Most Postmodern art seems to fall into this latter category. This is a dilemma for the old, unsatisfactory response to the class struggle against excessive cost, which sees resistance as futile. When any material need is situated in the supply chain, establishing a precedent by giving new meaning to substance, it is an explosion of the cultural process, regardless of value. The artist is not generally opposed to the glory of anarchy.

Thinking does not exist independently of language. Criticism is the sketchiness of our memory expressed in the form of language. The tradition of the metaphysical operates as a binary system located opposite concepts in a hierarchy of superiority, domination, subordination and inferiority. Another way to present this is in terms of inherent challenges. General linguistics explains the artistic conversation, facilitates it. There is no doubt that language, the language of reason itself, is a kind of transcendental language-in-general, which would make reality itself language. All theories are born in difficult times, struggle, emerging despite resistance to the new. The practice of art in real time, interactively, including the various models of aesthetics, interpretation, and attitudes about how to evolve over time, must be seen to exist. Always question that which is behind the historical hierarchy, which one official described as an "authority that museums, The Academy, ivory tower, and public cultural institutions as such is such a media production as tradition must evolve from," and, I would add, while providing a platform for discussion of the common culture of luxury as a common heritage. Consider the reversal of context as object, and object as mode of being.

Post-historical connoisseurs of art have criticized art as a theatrical reviewer would critique a stage play, and in so doing, granted no right to historical indebtedness, drawing attention to fear factors, claiming it was for the kids, a typical ploy for sympathy practiced as entertainment and even as popular culture that pull at the heartstrings. Had it really been Greenberg's influence that was diametrically opposed to the external deep structure, then it is certain that any work of art, however marginalized, would still be seen as tragic. Perhaps this is the fate of the critic, not the art. Greenberg may oppose everything external to the art itself, a most difficult tension, but his opponents expanded on the refusal to receive the artist-as-himself, rather than just the productive power of art. Abstract Expressionism always was an act of heroism. The abstract artist's program of reinterpreting the gallery, fascinating by a beam of strong, direct sunlight reflected off the plainness of the white wall, was considered regret over the loss of innocence, but not the experience, of an as yet unnatural phenomenon.

To take risks is to invite trouble, so that the artist must say, if asked about the gaps in a painting, that further cooperation is denied. It has been said of the audience, when it refused to see what was avoided, that the best policy still seems to be telling the truth -but with a twist, not an experience that leaves bad feelings. If organizational abstract humor is the main theme of the exhibition, then this is my funny face and farce. Can anyone imagine how embarrassing it is, thinking everything is okay, when abstract painting, which is currently out of favor because of the relentless severity of its sadness, comes to mind? Abstract painting's effect on tragedy, with its accidental drips and drops,  sprinkles and  sprays, including  intentional errors, is enough to make one blush. The simulated blood of broken body parts, both real, physical, evidence as well as derived, once again receives the stamp of visceral authenticity. And if that doesn't play, it's still worth all the emotional comedy a deductive artist (like myself), can put into a painting.

Risk means knowing how to lose. Only through real risk can you discover character. Something valuable must be at stake. Think of it as more of an opportunity than risk, and as with any mundane investment, where doubt is a given, and success is never assured. A desire to test the rules drives any risky action. Indeed, professional risk managers avoid unnecessary risks, and, equally important, they avoid chance when the end can be calculated. Certainly, a calculated risk must have a consideration. Through the objectivity of the proposition, the fine print, and the art of thinking about art, it has in fact become a place for the autonomy of the best and most positive factors in the most fluid state that can occur over time. This recognition appears as an unexpectedly strong personal aesthetic, as we usually deal with a tyranny of individual identities in an implausible script, however unattractive. On the other hand, the new aesthetic is a synthesis, which occurs, more often, with popular acceptance. It is the situation of a well-worn script, one that hides a deliberately tendentious choice, in gaming and art, through the contribution of narrative feedback. A small selection of pictures, sometimes with hysterical cameos of the ghost writer, and the strange, Surreal absence of awareness during the creative phase, and at other times moving with the calming charm of extensive time dilation, with everyone involved attacking the artist's motives serving as a diversion -all while the game goes on.

Not being mired in the supposed limitations game theory attached to the practice of painting makes possible the promise of trans-objective art. Many people have trouble understanding abstract art because of the subject. If the artist starts with himself (not with reality), then the work is abstract. If the artist disconnects from reality, then the viewer is also the starting point, and is therefore as subjective as any subject. Abstraction started with nothing, and by radical simplicity, achieved something by the reality of the subjective, and thus made a common human creativity and vision into a pure form comprehensible to those who can trust in the implicit promise of a object-less presence. Originality overtakes beauty and pleasure in art. Abstraction made chance forever new, as fresh, and new as today. Abandoning the image for a fresh start in the process of perfection, abstract painting rejected the idle for the pure enjoyment of chance.

The real sense of memory is an explosion of hidden information and fragmented constructs of various works within the parameters of abstraction, color, space, thoroughly exploiting the emotional kaleidoscope, and serving as a platform for knowledge. You may decide that this painting is an important public announcement of a new imaging technique to project a scene using a motif characteristic of the end of the archaeological exploration of dialogue. Between the virtual and the material means, including a deep interest in the positive development of style, I am still dealing with appearances, while maintaining the feeling of the subject. Formally, to fire our curiosity and fantasy in order to manufacture the positive impact on the brain, the viewer is asked to consider the meaning of broadcasts, how they reflect the internal logic of the subject. It is essentially looking forward to making a difference between the tectonic form of the intangible weight and loading time of the existential moment, contrasted with the cultural dark ride through the subconscious psychology of memory.

There you are, when you're doing what you're doing, they, you, and I, communicating with each other, sharing the luxury of being. We must condone being normal when it comes to life as the experience of art, and then, believing it to be a work of art with a strong sense of beauty, to find an outlet for expression that cannot always feel on a personal level. We are, anyway, free to put into words what we know this personal experience already knows. There is a certain scale-ability that it is assumed, when you are in bed, that you feel necessary, an important definition of the meaning of life. To have repose, complexity, and reflection in that way is important when, in the middle of the night, the heart races, writing to a friend only a little less than you feel.

Narrative history now seems to be melting. The concept of art as a whole drains us of resources, purpose, and meaning—if the story as a whole is to be accepted. There is an inherent physical reality, but, of course, we do not know what it is. It is palpable. It is the difference between what reality is and what we want it to be. That is thematic motive enough for the natural history wing of the museum of civilization. Based on the original story as-told, can it not be reduced to the difference between partial reduction and all there is? Describing it as a legitimate and practical knowledge of personal and social relations is not only a legacy of myths and power relations, it is the great narrative of events, incidents of accommodation, substitute social systems, and the history of ideas. It is about the relationships between social conditions that gradually developed from the story type, and the historical process as selective retrospective of the facts, including the knowledge of the character within. It is the driving implementation strategy of history and the historical discursive superstructure or, alternately, the rhetoric of political propaganda. It is all very wide of the mark of the real facts of a past event explicitly based on a logical nexus of revolution, but within a select set of political guidelines. The strategy is simple. If it did not have anything else, and indeed it may not have, then there is no sense in pointing to the politics of the work if it can turn politically reactionary because it is aesthetically revisionist.

The difficulty of recent art, and art writing, in terms of the hardness of both, is that it is already on the way out. The validity of the task at hand is to be aware of the signs. Conceptualization is counter‐intuitive because it proceeds from preconceptions. It thinks like an art critic, that it has an understanding with art criticism, that all but theory arises in difficult times, and despite the danger, the changes visible at the boundary between abstract painting, formlessness and form, is all that exists as an object. With change, the real impact of the fluctuation state of representation will show in the reception. As the work 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 that way. It is a framework for resistance. What results is an instance of wild painting, which, after examination, is difficult to categorize. This creates a presence in the composition of exact nature as alternative, or intentionally, as an addition to random, or improvised, aesthetic merit.

An artist makes paintings at the edge of what is recognizable as art, and yet, at the very moment when that realization seems immanent, it shifts and blurs. It contains a promise that at some point the very nature will become clear, its meaning unfold. What is not real? If art is imaginary, it is somehow pre-determined by the materials of construction. Chalky plaster is a surface that seems to both absorb and reflect paint like black absorbs light, and stands as a formidable object, and, when this ground is stained, rubbed, and splashed it emanates a paradoxical space that is both infinitely flat and infinitesimally deep. Yet, these are not mere exercises in virtuosity. Each work uses only sufficient technique to bring out an idea of form, the artist's touch giving only the most rudimentary definition. Behind these works is an urgency that allows no time for pause, the simple application of paint upon a surface, allowed to pursue its own inner meaning, the painter having little responsibility other than as a passionate participant. The point at which a painting becomes a painting is the work of the painter.

Thus, the object is to be understood in terms of its construction, but the location is part of the story. Funny, that we think we are beyond culture, but tap the cultural, ethnic and historical traditions, as the hybrid dialog paces meta-practice. They are alike indifferent aspects of looking and painting. In many places the transfer is in retrospect, one that promotes more stability than others, and each one alike. Contingencies of this relationship can be likened to the character's constant evolution, and are, in any case, the vision of a future partnership, one in which development supersedes experience. The time and history of the process gives it a megalithic appearance. Strange, but human elements, that recall a time in the past on the walls of abstraction present a visual technique and beauty of language, and the various contexts of perpetual repositioning, dynamic, versatile, continue to unfold, today as ever, in its complexity.

Actions that betray the limits of the canvas and the ambiguous stance of iconoclasm are not always best practice. Ending with a definition of what is classified as the historical driving force behind the discourse is, by now, familiar. Not separate from this, or what we think will be the next move in the game, are several series of what will be on canvas for the first time. A video can be directly related to physical performance. But, upon closer examination, that, which in large format output color, owes its support to the bright colors of an abrasive layer, is pushed back to the top edge of the canvas and becomes a slick, tight, barrier between the canvas and the viewer. Congestion in this area, which is to be re-written for control through a combination of new frontiers of canvas, data, and media, creates a scenario of every color under the sun. How high is the painting, and can it support a similar physical state at the bottom of each of what appears to be the remains of a combination of bright colors in a scene of raw white? Plunged into an ambiguity that inhabits the space between the floor and the ceiling, it looks like the record of the forces that are trying to deal with it in keeping with the weighted, increased, awareness of the body. The name of the image by sample, as a performance by any other artist, according to the name behind the brush, is the pull of pigment used in the painting for exclusive use by the artist. Extending the width of the wall gives the appearance of having been scratched from top to bottom, and from bottom to hanging in a group of accelerated gestures. It is the relationship of the artist without further comment.

A passion for the world's cultural legacy after the turn of the 21st Century, worked and worked again, the paint scraped to the edge of possibility in four dimensions. Finally, by laying-on of the physical characteristics of paint, it melts the beautiful circuit, and makes the experience incarnate. If we do not look for a cause, it is because of the metaphysical terminology, which reproduces its image on the world. How the operation of the art world hopes to influence the Theory of Evolution will be decided by the artist. It is in the effects, even the seemingly technical decision making, and design of related structures, that the difficulties of the metaphysical problem will be solved by a method which must answer the question, what is the doctrine of historical materialism? 

It is a doctrine which causes friction at all points preventing reconciliation on every side. Engaged in the flexible organization of reality, it provides an analytical tool, not some vintage structural ideology, which is, itself, another structural ideology, and so on, until it is accepted by the students and workers of the political and economic culture of the established system. The shock to the world in Cold War times, of a political end as improvement over any theory by the force of probability, made culture exist comfortably within the mainstream. We inferred from the student uprisings how to improve terminology, from the supporters of the theory having different points of view, but with no completely self-existing structural doctrine having resulted. A better approach, I believe, would not only be the most productive one, but of all the given possibilities different from the starting point. Any relationship between elements in a specific mode of other elements, in a system, must be included under the background of the main points of the theory of structural materialism, although post-structuralist power also may be questioned.

Understanding that the central theme is control, as all people know, is a problem of the structural doctrine of the solution framework. It is to think of it as a question that will not be asked. When does the romance of the past end, now, or in the future? It is only a beginning, a middle and an end, of the order of an idea, that it also has all of the resulting categories of the other, and most importantly, is part of the reaction. Having said something about this issue, knowing how it works, it is impossible not to be aware that telling others what they need to do, that they will then believe what they do not, that it will necessarily lead to a different conclusion. But words, who said what, to whom, will not seem at once obvious to the subject, to those of us on the inside, and the inside-out, without thinking that calling an object a name is not necessarily the purpose. Its assessment should be a cold, sidewalk gray, looking forward to a resolution like the difference between morning and night, affecting people whom you do not know. Whether you consider the past, or the now, or the future, or even the original going on all fours, it doesn't matter, if the conclusion is a belated reconciliation of controversy and trivial loss.

There should be a growing ambivalence, which itself recognizes that ideas are like food, that they can rot, become spoiled, regardless of taste and, similarly, thinking about that which is forgotten, which we tell one another, that it is just this one time, having learned a few things, that we won't forget, and so on. Controversy in the conceptual art movement was based on a misreading of thinking about art. Some artists will recall the debate in the literature of exploration as best left for another day. This is a good time for a large-scale, however stressful, review of what it all means. A measure of the subject's relationship is the least common denominator of the painting's feel, meaning, and comparison between it and the viewer's expectations. Yes, size and shape enable the convergence of the inner workings that expand the audience's mind. It may be as simple as a difference between local color. What is at stake is fair aesthetic. Everywhere is a growing stack of ultra-political ideas, of derivative works become tired, lean surfaces of the retail world of global capitalism, private dictatorship, injustice, and other problems not the fault of art. One's self-concept must always be changing. Working within the inevitable tangled web of ideas and power relations negotiating the relationship, we can see that it must be controversial. The question is, can abstract painting, mixed-message technology, and our sense of involvement, still be possible in a changing world, where the consumer desire to explore the role of the minority is mostly looking in another direction?

Implementation of complex joint group exhibitions in planning, and the meaning of generative social networks associated with a particular locality in time and place, the point of view is one obviously, and very much in the graph, as a hidden, successively written, source code as an indicator of prices, the title offering a variety of local taste, and one not avoided by this potential wealth of meaning. It continues when deprived of the opportunity to use as an object of aesthetic reflection the process of analogy in art of the intersection of imagination and reality. Poured into a connotative mingling aesthetic with a character subsisting in existence, which, when you click on it, is organic, giving the deliberate inclusion of hermeneutics as living consciously. Now, a global presence when the creative wealth of beauty is but a pleasant addition, it is all that remains of a world more in tune with the desires of hunger and the unconscious attempt to use pain to create interest in life. It is, too, a real reminder that it is simply not possible to restore social organization to the Roulette wheel of popularity, as the currently isolated and fragmented liberal freedoms that we enjoy play a tough, economic role in the private sector.

Limited to the concept of cultural factors and collected works of art, artists showing operative symptoms at the unprecedented behavior of post-modern rebellion, inherit passive damage in hyper-competitive social evolution of positives resistance to appropriation, and therefore supposedly evidence of what is, and in every fact expanding political life that is not, accessible because it is plastic, deeply managed compliance with policy. The need to cancel a mindset steeped in political, economic, and what some suggest is a liberal organization, collecting and emerging to protect a secret wound in the era of the cool, polarizing the concept of aesthetic images that can be understood as artifacts dissected by cultural references.

If you do enough research and, along the way, lose the anxious optimism of the XX Century, in which for good reason we had to control everything, you will find that you can understand the current tendency in art. We had started to approach an identification of the universe as an incredibly complex event, but before we can talk about a system, we need to know exactly what is meant by the mind's eye. The mind's eye is always taking pictures, because the clear line between a show of reality, and what is not, is very specific only as it is happening. Skepticism aside, instilling fear that the technology of video games, television and the Internet destroy culture, the linguistic exploration of the threat, through adaptation to generic graphics, conditions the young to animate culture. Flourishing as new media produced over the last twenty-five years, it is noticeable in the early assemblies of simple animated relics, now disused, that came into use upon the obsolescence of the former animation style of primitivism. Its power surfaced as visual and emotive connections, diverting attention from an integral experience of the world as semiotics. The disintegration of what-you-see-is-what-you-get graphics, in the form of the display of a singular assemblage of computer components, abound in the metaphor of look-alike production. Linking this aesthetic together with a true humanitarian approach to the haze of signification, it appears, with the importance of the temporary dislocation of human beings when viewed through a prism of the online transparency factor that it is, at last, nothing but randomized search engine results. 

Information on art collapses creating distance between media, and how it is seen as communicative, clarifying the gaps in the theme with efficiency. Digital pictures frame locations as exhibition. Animated space is the issue raised in the context of innovative ideas, without which, in the wrong cartoon-like environment, is destined for extinction. When turned inside out, it opens like an iris, flickering with kaleidoscopic images. Because this encoded transformation leaves personal traces that may be detected, while simultaneously providing relief in the form of a temporary suspension of belief in reality, as the focus shifts, the effect is one of engrossing images oblivious to hidden danger. The mesmerizing effect of transforming an amusement into distorting results with unintelligible, flashing, animated landscapes, cascading to the end of an endless screen, flows, as if from an inexhaustible source. Through holes in the pattern of digital space, taken-over, and concealing the darker side of the organism, an endless cycle of instructions cancels itself until such time as convenient. In audio, video, and digital emulations, distortion of data transforms into new means with distinct appellations, sound waves imprinted on the screen, spiraling in waves displayed with smoothly undulating currents.

Contrary to the soft rumble of subterranean passageways, mixed by Bach, is a cacophony of cackling stereo disruption, more than noise, a deafening silence. Looping videos superimposed on melting plasma screens contrast with linear executions and eternal arcs, sweeping as gracefully as any evolutionary offshoot. The movement exposes a meditative and elegant discipline in our cultural syntax. It shows that technology advances by a sharing of the real and virtual worlds. These complex utterances are a vibrant, living, context for art, framing the conversation by the legacy of, and a positive addiction to, established media. It is as if experiencing a contemporary rebirth of art underscores all that a technology of style in the resounding pulse ever was. Some similarities do not stop at mere comparison. When both are in the arena of aesthetics, it is a realistic beauty developed on the overlap between fiction and character, elements taken from the immediate environment, working the available material. 

Whether made of paint, plaster, or data (which is likely to fail), each material's unique nature changes, and eventually returns to, the original state. Like flesh and blood they evolve. Think of the earliest forms of life that used to carry-on the middle program and its statement. The mother of the meaning of art is predicated on the signs on walls, as if they had been removed, replaced, and finally reduced to a bag of laundry on the floor. A dark lecture can be read and heard in the background. The body of art is as a hint of the natural human being, a blackboard of the mind, giving an idea of the rapport which results from the efforts of artists to follow the warm memories of the spirit of excitement, hope, and laughter. 

A personal memory of history slowly coagulates from images, and with an accident having to do with hazardous materials, walking on thin ice with the viscosity of oil on glass. Of course, art is a symbol of the every age in which it was created, as there is nothing which cannot now be archived, but what is to be maintained in painting is longer flowers, shells, toys, and altars created in less than a ridiculous and shocking way. Produced in the same fashion as the construction of a human skull topped with a new style of hat is the fact of there being nothing that cannot be added, collaged, or assembled. The video signal, an amalgam of pigment fried in vegetable oil, plays havoc with data, while everything remains in the realm of feedback behind the system (the typical reference to art). Installed upon pedestals of stone, each with all the ties and links to change in face of the scale of the universe, residing in a continuum between, found under a vertical configuration. For his part, referring to the nursery rhyme and with varnished tongue, the artist does not want to read what is true. Regardless of how it is used, if one accepts that it is they who will not admit to being led into the trap of experience, it is nevertheless true among those who think.

Among the projects still in search of an explanation, the picture puzzle has yet to be solved. As an artist it is necessary, specifically, to be just over the line, in every technique which aims to create a soft surface, and after which motion is lost, yielding a combination of disrupted organic chaos. Across the landscape of the meeting between the vision, hallucinations, the value of the accumulated concentration of wealth, and seemingly endless complexity, it is ultimately the post-history of art. This is not a hypothetical. Rather, it is a proposal to cover the balance and equilibrium with the voltage of the constant equilibrium state.

A summary and a map of two opposite mirrors is a strange, analog, domain pointing towards the existence of illusion. This is the real source of irony: a hyper-real model generation, where there are no plans to be more than before. From now on, in the territory of the map at the fore, the equation used to illuminate those movements is the map of the territorial fall. Vision of detachment, the new gravestone carefully assembled as a screen before the audience suddenly breaks the mirror analogy burning through a million a minute. Beautifully, and clearly a black box for today's mass media, a critical spirit, mixed with the old pays tribute. The world as phenomenon of the lack of distinction between real and pseudo is revealed as the strategy to expose and destroy the ministry of propaganda. Revealing the hidden method can react at any moment and, as it happens, the glass particulates, splintered into a billion galaxies. The background is deconstructed parallel with global trends. It is the idea of nature with art's timeless elegance.

It is the object of the proposed search for the truth, a simulacrum of life-size reality (long live the revolution.) Geographical territory maps, land maps, maps of the concept of objective reality, as Ego, participating as an anchor, believing we now have a map of the long absence. Deconstruction maps of the short story as a descendant, its constant construction and demolition marking the fact that, as the original no longer exists in a continuous narrative, the inventor of the potential is infinite. Drop all narrative constraints, interest is less in what direction represents time as a pointless and endless opportunity, as an uncomfortable, but possible, truth.

Endless fact, based on legend, inviting the audience through the door, without relation, cobble stones, an abandoned building, a loft, a district of reality. Reality TV shows are the exception. The figures still can walk away with glory while the environment changes every day. It is the ongoing development of a passive subject, but not necessarily a sign of positive change. We ignore the past risking failure for the future. Although positioned outside nature, the essence of the city is, at any moment, an open door to a parallel reality, into an unoccupied room. At the same time risking an elaborate substitute created by media, it provides a different view of signals which are optional. The street protests in support of the daily routine, when filtered, remove all features that obscure the detail, classified as a subject widely recognized committed, or called anti-social behavior by the establishment. Facing the audience with wary eye has become a symbol of a fact reinforced by a barbed beat. Such is today's image that the most important announcement published about art is content taken from memory by the New Generation. It tends to be, and was immediately identified as a strike in the general direction of the most monumental image of change in culture, and the identity question. Is the image a tradition of mediation, or one that makes clear, and in-depth, an investigation into the social scene and images that are free?

That is, to move between mediums as a political manifestation of painting as the royal medium, to expand and define the universe in all its iconic reflections, has become the culture and identity of Postmodern art. Materials and new processes apart, as the tradition of painting is, at the same time, the sound discoverer of the tonality of modern life, and the interest taken in the problems of different directions in number and at night. The document in itself is a deep exploration taken into a more carefully nuanced tradition, and the deliberate problem of the dark made reflexive, and the abstract image as a means of examining the active display of images, to the auditing of new subjects in a political, economic, hyper-modern world. The experimental work of art raises blood pressure, applied to clean glass slide through a process, and then is permanently brightened by a layer of resin. On the surface, the organic material present as liquid remains unchanged by suspension of the construct in the form of a myth. In the image of the character of the environment, a family portrait, both prominent and unknown to the person taking the picture, is acquired from features of a weird, disturbing, and mysterious appearance that could be appropriated images, moved from one place to another.

To explain such a purely, new painting following in the shadow of photography has, as its source, memories that determine the nature of the material. In the presentation, it is for you to interact with the images taken, with the inherent power dynamic, in the test of a painting as found. Every new image, started as a work in a new concept to re-absorb the energy of subliminal signs, is a timeless being. Being hand-made in a new reality where a new series of paintings, created to deal with the degeneration of artwork, only to subtly evoke in the human eye a rational industrial base, produces an optical effect in the viewing audience afflicted by the ideal of art. Then, to explore recalling the appellant to build a demonstrated and perverse poetic artifice of nature, revealing a sense of the comic absurdity of a dictatorship of the arts, assaults the moral and political refutation of that same propaganda.

In reconstructing the perception of the artist's childhood of unique colors, it is felt that he could feel or hear colors better than by the visual sense. As undoubtedly it is a great motivator for the artist to express the vision of the intensity of color feeling, artwork of the abstract results, both in materials, and in process. Perceptual modification starts with the destruction and reassembly of materials, as the artist begins with pure smoke, but colorfully, and when the narrative becomes both conflicting and glorified, finds place in a falsified history. It then draws on a variety of cultural meanings to establish connections across time and space, and although painted, identifies with it as a model appropriate for work on a brighter future. The more vibrant and topical the palette colors are, in terms of the iconography of the convergence of both customs and culture-produced synthesis, the more typical is the image interwoven with stories of walls and installations of sensuous natural outlook. The new history is defined by the fact that we are in the now forever. That is why, again, apart from work exploring ideas of representation and reproduction of the cultural appropriation cycle, re-employed motifs from the past, and the history of art from modernist mix-and-match colors, patterns, and styles, links are made connecting various points in time.

The source motifs seen in the ruins of ancient rain forests and futuristic museum exhibitions, movie stars offering double or multiple copies of one another and more of the same are as different as the intended answer to the philosophical question raised by the nature and essence of artifacts made by the artist. Real or imagined, it employs by numerous mediums artistically explored concepts, Western imperialism, Eastern philosophy, pop, and the discursive juxtaposition of images and messages, from which visitors are asked to consider, what takes us there in the long term? The work cannot be separated from itself, as if it did not have physical distance, feeling like a part of a body. It is quiet at the top of the history of art as it changes course in the most consistent manifestation. Exhibiting with an indifferent attitude is convincing to the audience wanting only to forgive. In the inventory are many factors, influences, and with audiences decreasing, lower values signify unusually high purpose. After several exhibitions many experiences can change. This is how the influences work towards autonomous development, in other words, it would be realistic to re-distribute the wealth. It is as if the artist were to paint a self-portrait of someone else. It is in the midst of this immersion in the audience, even to the point of death, that they are found to be only human. For too long the freedom to paint not self-portraits, but as part of a whole, with as many people as possible involved. The art and the artist must be taken together. Audiences and critics are optional. Transfer that to the wall and close the door. What will happen between the work of art and its display is the story of heroes in silent film.

The absence of explicit theorizing in art history is compensation for unknown options, an obsession with empirical contracts, iconography, objects that have a strong set of archival value in art history, and for what it says about generations of original records. Connoisseurship, which equally theorized, became an agenda to identify further hidden forces, conditions, authorship and quality of items searching for control keys that are in the spotlight. Contrasts of light after the departure point, the self-conscious infinity of the possibility of disseminating examples, make it a necessary image plan. Material lack of specificity leads to strongly forged art objects, rather than the actual, which is unprecedented, considering that much of the argument for art is that the end products are not strictly rational concepts. Manufacturing processes remain focused on visual similarity and imposes strict research on factors through which interpreters catch a new field in general.

I once thought I painted like Picasso, then I realized it was only me and, when I had thought about it a little more, realized that I was at the museum, and I that I was part of the physical presence of art, not just looking. As mentioned before, the breeding of ideas and providing information about what the painting resembles, in most cases, is the very actual experience of its scale and physical relation to the world. Another aspect of my reaction was increased awareness of the density of paint. Most paintings are wide and flat areas and, as such, are but details of a narrative score. But if they are color density only, with a minimum of color washout, there is a feeling that the color is without intention, including accidents in the process. Critical comments are less of a problem than the skewed color methods that try to describe the qualities of the elusive feelings of the artist as they happen. The color itself is general, but still, in some ways, an add-on. Often, in the middle, the painting looks like it is ready to push over the edge. 

My previous comment, that a painting is just a drawing in paint, is not unique. Other artists have said the same thing. It says something about the character of drawing itself that painters use deep, visual history, many completely subconsciously, to draw what we call the image. The drawing is, in most cases, this process of doing by hand what consists of a series of iterative decision that can take advantage of the process of drawing and painting until the final result is achieved. No one can see what the last layer of the hidden meaning is until after the final result, the thing-in-itself, is brought to conclusion. A small detail may link with another small detail revealing the intentions of the artist. The information function of the work is then gone, adding a complex layer of underground. Visible information cannot be fully estimated but must be fully available. It is perceived by the viewer, even if only subconsciously, and enriches our ability to identify and respond to those features which create within us a feeling of identification with the artist. It is more than aesthetic. It could be related to all that is.

As the Industrial Revolution advanced it had an epic effect on society analogous to the Neolithic, when humans discovered the concentrating effect of painting in caves. The Industrial Revolution corresponds to the shift away from hunting to a labor intensive economy. An interesting offshoot of this technological transformation was the invention of photography. It was the most serious attack on the status of visual representation since mankind first noticed the expressive power of deliberate scratches and smudging. No longer confined to strict representation, painting in the Modern era began to explore means of expression which, for want of a specific artistic term, may be called manufactured. Because mechanical handiwork is a trade, not a talent, it became possible for all social classes to join in artistic production. There has been no other period in the past where there was such a radical (indeed “convulsive” --in the jargon of the Surrealists) revolution in pictorial experience. The quest for improvement resulted in the explosive, historically nonlinear succession of pictorial phenomena, known as Modernism. No longer was the artist’s touch unique. But, for millennia, it was this aspect of the work of art which made art meaningful. Therefore, the very existence of art, and thus artists, was called into question. Painters who desired to control mechanical means saw the quest for newness in itself as the path to follow. Now, after an entire mediating Century, we have arrived at a plateau, and progress in this direction cannot logically continue.

Discovery as an object in itself is in doubt. There is nothing new. Novelty has lost appeal. Like a good joke, the future of art is in the context, the timing, the delivery, a good punchline. The dizzying array of identical originalities for sale at a time when the fear of financial destruction is intense is stunning. Individual paintings vie for attention, the differences, similarities, recognition between the various assertions, all make demands on experience. What is made known is raw testimony, the residue of a series of intensely revealing explorations into an internal psychological state unhampered by experience or development. By this is meant a compliment, because it is never easy to meet standards. The problem is to set them. By being cataloged, each individual artist is locked into a tight box of identity. The true artist, on the other hand, wants to defy expectations, to confuse, irritate and transgress the limits applied by the outside world. Research into unexplored territory gave attention to individual paintings --and fewer impressions of the artist. It is impossible to argue with the Postmodern aesthetic, because it is impossible to disprove a negative, and what is Postmodernism, if it were not what it is? It is neither a style, nor a movement, but rather an aesthetic. We take the idea of fashion, or even the popular notion of a fad, as definition. Postmodernism (including its opposite, Modernism) is at bottom a phenomenon that we use in order to structure the evolution of art in the post-industrial era. Functionally, in the Twentieth Century, painting sought to expand by exploring the notion of abstraction, a conceptual structure defined by what is not represented. This exploration is now complete, painting as a language is essentially defined, and painters can now speak the language of art to reveal the truths of our time. Painters can only fail to use the language effectively.

Decisions point to imperfections in the set of values about the situation in relation to this debate because it is pending and not the result of any accident. This is equivalent to the idea that the desire for a noncommittal statement of artistic production, by itself harmless, unwilling to be confined to anything easily categorized within the existing models of understanding, is a ready-made trap. The desire to get out of this problem in an active, but neutral way, sets up an incredible tension between the desire to make a statement about the experience of the world through artistic practice, and the paralyzing fear of assimilation by it. The fear of repeating stereotypes is much more threatening than to bear the undesirable fruit characteristic of the artistic parasite on society. To get free of the flatness of negative emotions can be reached only with great difficulty, irrelevance, and freedom in principle by acting with assurance. Giving voice to anything, at the same time wary of investing in the good and the beautiful image in history and politics, is reconciled by silence. It is alleged that, surrounded by writing and criticism, it is clearly against this backdrop of confusing ironic and emotional detachment that the new political and revolutionary type takes-on an every-sided neutrality. The conceptual heart of the matter thus morphs, wrapped in a world completely enclosed by the visual, where there is nothing beyond the edge of the picture. It shows that popularity in decentralized networks is protected by the State, dismantling the existential identity of each person.

The echo of consequences through language and concepts define a fuzzy formula. Blurry emptiness leads to a journey down the rabbit hole. As one looks deeper into reflections outside your own image, found in a gallery space and elsewhere, the viewer moves around a stack of the felt inner logic of an implicit agreement. That which has never been thought of as much more than an idea at a time when silence holds more than the finality of a second language, it is imperative to the pregnant pause, the tension, to put the power of this tension as its generator into word. The inability to work independently as a provider of meaning, if marked as a surface site for meaningful exchange, in reality tells us that the exchange should always take place in a much more intense and volatile domain. This transformation, which allows the action that one sees in highly constructed work to show only a crack in the wall that was built for the occasion, blocks the windows of the gallery with irony and absurdity. They join forces with the gestures and movements of a wide range of psychological and emotional associations to show that a single source of illuminating light is more important than a whole wall of glass, when complete in its original depiction. When one can visually inform the world of professional image viewers, how can one not be captivated by such an possibility? Or one may say, "Yes, but beauty is very, very, cliché." The artist must be a barbarian or effete. Of course, when a process is once established, its agenda may not be arrested very much in advance. The image-qua-picture accomplished by introspection is a critical contradiction.

If the original meaning is to be touched, then it is to be a challenge which is also a unique opportunity to touch each type of representative. The leaders of this unique opportunity own the scale, location and material means. For, if the pursuit of a set of basic images that represent divisions in the world are all pieces of their own constituencies, then each image is a proposition that contains a small sample of people who are excluded, opposite the field, back into the earth, and as if afraid of being crushed by a falling statue. Iconoclasts are so at odds that they can be identified and described as the presence of something external to themselves. Because the odds are that the wastage, which has already happened, is the real problem, and this is something that was thought instead of being said was just as well having not been said. The underlying structure of art that is elitist will not persuade the public today that it is nothing more than intellectual talk. Complexity in itself, it does not take into account the advantage of an extensive public conversation within culture. A visual art, cinema, or ideas of a political nature, combining techniques, is to build the structure of an underground system. But for the fact that the purpose of an art critic is to dig bunkers into a small and safe cocoon, rarely, outside of political life, will it permit unpacking. This applies to the visual arts, in many ways, and may itself be too narrow. It is the reason it does not embrace a comprehensive approach to questions of mass production, like the rest of the productive community of the world. In other departments, it is programmed to put a visual artist to work like a tool.

The visual arts, like books, recordings, and film, are limited in content, because the limited content of their creator is not simply materialism, or something similar, usually used to make an abstract point. Even artists who use the media for artistic ends are not always clear about the economic structure in an attempt to set themselves apart from the industrial world, but the wide range of visual arts is rarely a public conversation after all, and every form of intellectual elitism on its side is part of the problem for another reason: It is foreign to the thinking of its own, in terms of dealing in contemporary art and art history, a tradition and commentary more commonly found in breaking down barriers between art forms, which since Duchamp has been a consistent trend. But, ironically, it is very clear that there is an economy of art production. The study of economics, or a picture of it in its material context is, to some extent, a picture of history, making it possible to realize that knowledge expands as a useful field. I do not believe any artist can engage in a broader conversation, or to go beyond this. Far from it. For the art industry to engage in a meaningful way with the public intellectual, they must continue to be reduced by the meta-discussion at many levels to get to the heart of what, in the artistic statement, is relevant.

The experience of color, leaving the viewer in the space of emotion, familiar to those who wish to know, if, for no other reason than to know themselves. Just as the subconscious realization defined by a series of staccato, punctuated bursts, it is a continuous experience susceptible to change. The infinity of space at the speed of light as a challenge to the punctured end of the present, gives more-or-less the knowledge and facility, as well as being a part of the scale and nature, and makes the exploration of space a place to work between mirrored symmetries. This reflects the change in the internal representation referred to as a constant composition of scale through work as simple, obvious, meaningful, or positive and negative, as when for example, it is used to create fear and awe. Much of contemporary art will eventually lead to an informed description, not one that doesn't work, through the daily behavior typical of societies under consideration, and because of human nature. In order to discuss any other power, social and environmental requirements are displaced, and, talking about the conclusions of the everyday world that we live in from society's perspective is based on little more than opinion. Artistic opportunities for capturing the terrible moment raise the volume of politics through visual flow until the end of the picture is not disembodiment and transparent, but the dimension of the surface, all sewn together.

The Utopian control of knowledge is very much a part of the production of the exhibition, so that any change in location is a foreboding of reading and text. The fear of the Government is that increased public anxiety and paranoia is at the heart of the media call to establish a culture of increased uncertainty in the delicate economic balance. Taking advantage of the confusion on the part of humanity is its test in terms of the number of catastrophic interferences it has been reduced to, and specifies a new world economic order to consider the idea at a time prior to establishing the skeptical program. Doubts as to the authenticity of the intellectual focus is one of the main aspects of Postmodern thought in the resistance movement of the master intellectual discourse on Modernism, and is defended by those who seek to undermine all the binaries, thereby canceling the foundations of Western culture. The right to capitalize on the mastery of desire for the subject and structure of reality as a theory, is always seen as proof of the certainty of scientific knowledge. Given a preference for fine art on a flat field of perception, it is clear that the issue of peripheral bias blurs the visual experience, all of which thus loses an understanding of the depths of darkness. It hides behind the so-called paradigm shift, at the center of the discourse, like a spherical earth flattened upon the page, requiring a network of grid lines to smooth the gravity of the geometric constant. Objective survey thus makes visible, and becomes a powerful visual expression of, the narrative so written as a significant complement to the design. Because it reflects aspects of the experience of perspective as a static map, or orthography, it better conveys the human experience of emotion. Art and narrative together reflect the mood and rhythm of the aesthetic pulsations felt by the experienced viewer.

It is a way to focus attention on all those things that are most often ignored. It can be seen when the artwork which was a moment ago hanging on gallery walls disappears. It disappears frame, nail and wire leaving literal flatness. With questions about who owns it--all assumptions cease, and their participation will not be felt as if the decision was not unexpected. The fact of a movement towards completed deposit dictates ownership, but so aesthetic and functional that the question what to do or not to do about a work of art becomes a game of chance. Concerning things overlooked, usually behind the seen, and with a song running through your head, when you realize that it is a deadly game--the way we see the world and our relationship with it. It is a substantial reduction of the ability to create an illusion, simultaneously, the relation between the artist and the on-looker, and the artist must take his time. When you have another layer in which to create the conditions that absorb consciously what happened in the past, you can take the time to work from the surface and do what is needed to absorb it. You will then find it is related to the words committed to it, not because history is slowing down, but because the issue is the cycle of media attention when it does not come quickly enough. The way people consume art is not like the way they consume the sorts of products in a supermarket. It becomes absolutely necessary when working with commodified materials to slow the process down to look at what is consumed in the studio. With no explanation given of what is happening, as an unexplained critical situation in which it is quite clear, after the chaos subsides, that we are smart enough to see that the places where exchange is made by individuals, and by small groups, that it is like death, so that we unconsciously feel that progress is inevitable.

Involuntarily, we have a hunch it will not have been some connection to the little details needed to swap places with wherever we find ourselves, reporting directly from the population, a long, dull dream, a plan of escape. Each has its own special way of protecting its invention, or at least ignoring the circumstances in a way such that each theory becomes a notion of madness, dreams and plans becoming a unique museum in the mind. Or, at least try not paying attention to the environment, and acknowledge that it is not all manic, but a tour and making feasible of the dream palace. The project stimulates the imagination, ideas, and leads the viewer to address the work. There does not seem to be any connection to people directly, to induce them to give up the dream of ending the depression, or their problems, although aware of the attempt. A creative team of elitists, that expects strengthening of cultural identity, the direct and immediate effect of the dynamic economic power of the idea to stimulate the imagination, creates momentum that finances cultural identity.

In the claustrophobic atmosphere of feeling jailed in a hall of mirrors gallery (without windows), standing in a confined space that may not affect the power of decline without exception, I quickly realized that that kind of new range of third parties is monitored by a series of set points. The interruption of the spirit, but of unknown origin, is not a reference to the uncertain future of the flow, but is itself, zero. Both share the evidence of what an artifact and a cipher is, which adds to its beauty and even goes beyond the cultural context that lends to it a degree of authenticity. This same quality is equally manifest in the form of knowledge and inspiration. Interrupting an exception to the decline in this vein, but from an unknown origin rather than an indication of an uncertain future flow represents the void. At the molecular level, competition, the struggle to survive, is not just the law of averages, but is the rule in word and fact. The tangent of the sublime and the ridiculous with a big wrecking ball set within the remains of the consequences of mass destruction that nothing is a more remarkable sign of the strength of the event than trying to recover the history of a little flicker of light and effect. 

After the spate of exhibitions have been long remembered as contemporary art, the problem will not be performed during the Enlightenment, or the image written in demographics for the future history of art, but that will keep a safe distance. A signature feature of the long distance, in the secret art, modern culture, and its relationship with the viewer that occurred as a metaphor of visceral intimacy bound to happen, followed the political sphere, artists of the movement leading up to the limit of creativity and taking it to the writing of time ephemeral. In the process it contributed to a life story written by daily separation. A visual tangent of the vast storm debris from the wreck deposited in warehouses and juxtaposed with a large eye, it is the reflected light of the mass destruction of nothing, clearly scattered and reduced, the residual force a result of an attempt to revive the story of an idea. It will most likely be remembered long after the globalization of the problem. During the informative epoch, which features no pictures due to the fact that in the retrospective of art history they continue to appear different in both size and design, it is somehow out of the ordinary to pulse with intimacy as a metaphor of the unique relationship that was long held in secret. In the art of the new culture of the end of politics, affected artists in these times are led to a freedom of movement, creativity, and as they divide their daily lives into the process that contributes to culture, more and more will be written about the artist contributing to an aesthetic phenomena. Another way to think of it, even if it is shocking, is as a curator with the good sense to demonstrate the continuous change of our understanding of the universe. 

The breadth of a particular topic may appeal to sentimentality as much as a concept. One can use the same general concept of space to describe the present as easily as referring, in its own special moment, to working with a representation of the problem as it might be with less controversy. As it is, we look at how that same moment from two different angles is rarely possible. We are trying to maintain it for the sole and narrow portion of the solitude that is Postmodernism, a potential curatorial curiosity, in an age in which it can be reduced endlessly, but still remain possible. You can have the basic elements of our existence, our dizziness, and our confusion, which has confirmed the feelings of change and their effects by meditation without the debate or political argument, but in an art all of which is rotated. In a way, it is good that they are, because without question instinctively we know that the operation is not without the nuances of language.

I have seen situations where the importance of works of art are about the platitude of the conversation and, as a consequence, they disagree. It provides another case of art writing nonsense in the absence of any reasonable debate. After the peak of this kind of intellectual discourse, visual art for retail transcends language, and with the prospect of its own sign system, meta-language, social system, and the need to maintain dialogue and analysis in art, it remains apart from art. How you do not have a form of a necessity, rather than every other creative form? It must be free inside, and include itself, if it is to be truly free. I would just like to say, like people in general, that, considered in terms of taste, or a wish to be considered in terms of taste, they, as we, as experts, may consider it to be an exception, and that it is an unusual request.

Painting is like finding a non-referential aesthetics. An estimate of the canvas is probably the most remarkable of its four corners in real space. If in space, weight does not appear, and it must be held down. It consists of a window through which we look beyond the actual room. It is a question of how much. A sunbeam in the air in the summer is a thousand times heavier than it appears, but is yet lighter than a dream. In a painting, the feeling of weight is relative, and is usually caused by tonal differences. Darker colors seem generally heavier than lighter, especially if the colors are so arranged as to be a thing that you already know is heavy. Untransformed, the issue is not about the sense of scale, about the daylight without the effect of violent atmosphere. Without the props, without metaphor, without narration, it is a mere description. Like the painter, painting requires a continuous process of reinventing itself. You grow as a painter probably just as fast as you develop as a person. Painting itself, which the ego keeps beneath the surface of life shows up again and again to rediscover all the faith and hope believed lost. All an artist really has to do is to make the painting, and all the extraneous theory will take care of itself. Since there are many unsolved random semi-illusionist spaces, the actual effect of any roominess is having no feeling at all, dimensionless being-in-space. Continuous improvisation implies a process of constant decision making, which is why such onerous demands are made on its practitioners and why they sometimes literally lose their minds.

To work in the history of art is to wait for everything, not saying what cannot be said. It must be as cold as dry ice. Turn the other into something familiar. Travel to the legendary site of a notorious murder, a rite of passage of the inner journey caused by a memory collapse, all of which exchanges form with the black infinity of space. Paint stripped, put through a washing machine and reconstructed, as though an afterthought. These modern paintings that result are not only clean but also deconstructed in their novelty. A Neon sign that says: “meaning.” The triangular order, which generates unnecessary amounts of offset used as a counter balance to keep the structure floating on the gallery wall. Pictures of free-flowing water bottles just about right to point out that the original plastic content was no less fluid. This was done often enough that more is needed, and by suggestive combinations of elements within and between wax molds of tables and framed devices cast in resin. Canvas reduces the echo of a seagoing tradition of tattoos, fizzing with riot, and yet sufficiently complex to be called delicious. These renegades have zeal because they escaped the conventional roles of the stateless non-space represented by their spectacular ingenuity. The window confronts the computer screen opposite the wall space ambiguously grounded on canvas. What seemed to be a romantic escape was, just before it became a flight to escape creeping penalization, a chemical efflorescence. It all makes for a productive tension.

We can now view the extent from art to the world and back. The same rules apply to any measure of scale. Transfiguration can be equated to the internal, but the formalist will say that exposing interior space exposes individual objective nature. Abstract formalism is a technique in the search for the free, unrealized space, within interior space. Terms of abstraction or abstract art are common, so we might as well use them, but the kind of art we are talking about is not abstract at all, but concrete, tangible and very concrete. This generally means reinforcing new views. That art, which we call abstract, is usually a message from a non-person. It is at the moment when an artist is acknowledged that destruction, perhaps even failure, is going forward. Works dealing with the concept of romantic landscapes inspired by urban and technological environment tend to make images that are relevant to our times, romantic and emotional, researching a new aesthetic. The aesthetic is a complex subject inextricably linked to the taste and flavor of survival.

It is the most important work that needs to emerge from its own impending doom. Both the artist's ego, and the ego of the non-artist are teachable methods of space. This planet is only one a small number of special, highly-qualified, and beyond counting number of divisions, even more astonishing than the human ability to effortlessly and automatically record, tabulate, and distinguish details. Everything is made clear, and in a complementary fashion. Most of our lives is taken up with attention to detail, as the many obstacles in our path test us, the vast majority occupied by other people while you are doing your usual thing. Infinite vision is a deep, panoramic image. What is the length of a given thing, if only a section of an infinite loop so-called, with respect to the real space of abstract mathematical principles? Infinity is not reality. It is, after all, only mathematics. The foundation of the perception of abstract art is a number. Given connections and affinities, and the pleasure of gazing into space, you can give no reason why there are so many similarities between discrete tasks. Yes, with nonobjective painting, chiaroscuro and modeling are voided, rejected by its created space located away from the space of Cubism, Cubism, and more Cubism. Perhaps, after the rise of Cubist space, Newtonian infinities will be forgotten.

Beyond unconscious alienation, alienated intuition, we may conclude only that it is the nonobjective consciousness that abstraction, finally, in all its sensory detail and delicate involution of investment will continue to probe. You can all but declare the world indescribable, and by declaring it a farce, most consistently repeat the farce that it is. What purpose, as an existential subjectivity, but one that one also has to live without sense of purpose, knowing what else there might be? Emotional persuasion, unless it is impossible to give such testimony, given the emphasis of our activities as the result of lower complexity, abdicates responsibility. By the immorally existential relativism, we know that we, therefore, of all that we do not know with certainty, are unpredictable, and that by so knowing we cannot but know ourselves. This predicament is, admittedly, ironic, a primordial chaos, known as one thing to science (which will be discussed under the heading of entropy), and as another to art. Forgetting, in alliance with the abyss of chaos, and linked with the purpose of creation through memory, stands the enigma of the Ego. It is hardly necessary to point out the failures of every day existence, real failures, to prove the reality of the dilemma. But what it means for art, whether wholly random or partially, is as equally important to understand as the emotions that are history.

A blank, unmediated perception does not exist and, if it did, is would be without knowledge. The many instructions for knowing perception assume knowledge on the part of the art as formed, one that is an integral part of the work, and as given what the artist knows the audience knows. There is an infinite number of ways to do anything. Unfortunately, it is also the core of abstract formalism, and in fact, it was first identified as a new beginning. It is important to understand to what the extent they limit the frame of reference, and everything else outside of it. Naturally, all these methods fail when they are understood, so that the adventure of distractions is endless. However, if a painting is not a theory, if it does not describe anything that exists, then the title can be a meaningful part of the composition. Titles as such are worthy of discussion, but for now, the balance between blank and concrete, between the given information and formal mold, is too banal. To establish a beyond of art and related aesthetics, immersed in their own mess, we are well placed on earth to observe.

In fact, as a part of his work, irrelevancies in the artist's tendency to antagonize are an effort to become increasingly historical. For the artist to face the world, or stand near, back, or copied, he must be viewed as neutral, or be modified. Negative comment has driven many great ideas, with many of the younger artists in recognition of the critical sense of thinking. The proper way to empty the aesthetic concept of the object and, therefore, of a hidden knowledge, it must be reactive. What is new is defined as the interval between the project and its realization. Jump to another conceptualism that is not, therefore, a function of a post-modernist tendency and it is, after all, a lyrical style and a painting from theory. Redaction and simplification of form and features remain still to be determined, clear, clean, and in effect that which is yet outside. Perhaps, instead, the level of work is sensitive, and not epic. This is not the same problem as “painterliness,” but the infinite can be a kind of daydream. A related problem is the largeness, openness, and vast extent of lines, shapes, spaces, points, memories, shadows, details, and all of us realizing our emotional involvement, something that deserves to be heard as a given complex, especially in the case of a specific ontology or obsession. Artists are analysts of interpretation, reinventing the vast social scape of communication between people and desire, leading to a culture where there is a possibility of meaning. Art, for the viewer to stop and analyze, rather than a negative absorption as normal, and its analysis, to that end is contemporary. 

If you think of art, or any media, as other than an inside joke, community message board, or book club, to say in effect, that it is public and explains everything, is to analyze the quality of the work as on-going. For total engagement, and the belief that there is no end to creativity and interaction with it, a new generation is needed. This kind of direct connotation with evolution and the progressive narrative shows itself in the cognitive syntax of a single word, as if to convey a measure of mood. Sudden, unexpectedly long-term, matching parts appear suddenly as a dark gap, characteristic of the residual appearance. Art is back, and speech, with implications for stories of art, which require a silent listener. Listen to art? Even in the darkness, with immediate action in the presence of mind, the meaning can appear.

Facts alone do not make sense. If you give it enough research, and enough time to lose the anxiety and optimism of the late Twentieth Century, in which for good reason we had to control everything, and you think you can understand that you are always moving toward, then we start to approach the identification of history as an incredibly complex event, a system. But before we can talk about it, we need to know exactly what is meant by painting from nothing. It starts with the mind's eye. Always recognize that the mind's eye is in play, because the lack of a clear line between being a show of what reality is, and what that is not, is very specific when it is happening. Is it, after all, nothing but the Paranoid Critical Method? In a moment, all the horrific outcomes rotate the stomach as if intended beforehand. Again, as if by plan, or surprise, it grabs the audience already emotionally tumultuous by exposure to media and peer pressure. It forms the basis of the half-life which it sets out very clearly that it is not. On conventions of style, and those who do not admit that it is theater, it is that people with no frame of reference are insensible. As long as you do not waste your time when you need to know exactly where you are, you have a chance. What is most interesting, as the game turns into intent, is the actual situation it can become. Each character is predictable, and the dialogue anonymous in order to give surprise to the plan, but in the end, the fanatical feeling of beauty inherent in danger can only be understood when things go wrong.

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