Paleness/Inky darkness/Bitumen and Blossom
I am writing this in agonisingly long 15 minute chunks of time, pinning the skittish bouncing thoughts of my dyslexic interior world with the discipline of the powdery piling of salt in an hourglass, the sound of gentle sifting in the sunlight, it is like liquid glitter like drugs and sugar, like diamonds. Salt, paleness, deep darkness cleansing and crystal forms recur as I tap out this story of the house, a living painting and this lightness and darkness are the “ground” of the work[1]In the street near my house they were laying the road, hot sticky tarry asphalt with tourmaline glittering oily ebony aggregate spread by sweating men from the steely mouth of the digger and next to it fall the thin membranes of the blushing cherry blossoms skittering, tumbling over the surface of this sable stuff making tiny tornadoes before landing stuck into patterns like on dresses- this contrast feels apt for the luminescence and inky darkness that occurs over again in this space. (this bit feels really important)
[1] A ground or primer is the background surface on which you paint. It is usually a coating such as a gesso primer, which physically separates your painting from the support. It is the foundation of a painting, applied onto the raw canvas, paper, or other support.
☆Donation:
Guide
Paik’s Video Study
Jean-Michel Basquiat's 'Untitled (Skull)
Niamh O'Malley, 'Glasshouse' (2014)
Frida Kahlo’s Self-Portraits: A Video Essay
Tilda Swinton Pays Tribute to the Films of Pier Paolo Pasolini
Erwin Olaf. Strange Beauty
Vivian Maier _ {A Hidden Genius: Finding Vivian Maier}
The Alchemy of You and I - Choi Jeong-Hwa
Neïl Beloufa. Digital Mourning
