The playful mind is the productive mind.
A mind that is critital of production is the train of thought
that reduces production. If production is the goal -- then
produce! If critical production is the goal -- then minimal
production is produced -- it's just to just produce non-critically.
The non-critical mind is from where the most fruitful production
is produced -- this in itself is justification enough for the
work that is pronounced from the hand's motion through the various steps of the mental process as they form idea to motion through the dance of the body and mind -- the interplay of the origin of form as an expression of feeling -- or the origin of feeling as the function of the reception of the eye to some kind of
instinctual contract with the essence of being and our sensation
(ie: interpretation) of what is, is what is: that is what we see,
as the viewer -- as the artist beforehand! Therefore I attack
the very essence of being and what is, with every sensual, thoughtful, prolonged, quick, methodical, childish, bare naked attachment and detachment, compacted onto compassion for the unlimited limits of this dimensional surface, upon surface, upon surface layered through the concepts of moments of time -- as "compartments" -- of useful functional painterly structure that can be measured through critical discussion. These compartments are what we could consider to be movements, as in music, or like in martial arts, a swipe or sweep, or as in dance -- qualitative visual/mechanical mapping the body to represent a concept. In a sense, the artist's hand plays a dance -- the art is the dance. When you look at my work, the concept is the mind. So off I paint -- I bring the ruckus.
A mind that is critital of production is the train of thought
that reduces production. If production is the goal -- then
produce! If critical production is the goal -- then minimal
production is produced -- it's just to just produce non-critically.
The non-critical mind is from where the most fruitful production
is produced -- this in itself is justification enough for the
work that is pronounced from the hand's motion through the various steps of the mental process as they form idea to motion through the dance of the body and mind -- the interplay of the origin of form as an expression of feeling -- or the origin of feeling as the function of the reception of the eye to some kind of
instinctual contract with the essence of being and our sensation
(ie: interpretation) of what is, is what is: that is what we see,
as the viewer -- as the artist beforehand! Therefore I attack
the very essence of being and what is, with every sensual, thoughtful, prolonged, quick, methodical, childish, bare naked attachment and detachment, compacted onto compassion for the unlimited limits of this dimensional surface, upon surface, upon surface layered through the concepts of moments of time -- as "compartments" -- of useful functional painterly structure that can be measured through critical discussion. These compartments are what we could consider to be movements, as in music, or like in martial arts, a swipe or sweep, or as in dance -- qualitative visual/mechanical mapping the body to represent a concept. In a sense, the artist's hand plays a dance -- the art is the dance. When you look at my work, the concept is the mind. So off I paint -- I bring the ruckus.
![[Labret]](data:image/svg+xml;base64,CgkJCTxzdmcgeG1sbnM9J2h0dHA6Ly93d3cudzMub3JnLzIwMDAvc3ZnJyB2aWV3Qm94PScwIDAgNTAgNTAnPgoJCQkJPHJlY3Qgd2lkdGg9JzEwMCUnIGhlaWdodD0nMTAwJScgZmlsbD0nIzRkNjI1MycgLz4KCQkJCTx0ZXh0IHg9JzUwJScgeT0nNTAlJyBmaWxsPSd3aGl0ZScgZm9udC13ZWlnaHQ9J2JvbGQnIGZvbnQtZmFtaWx5PSdBcmlhbCcgZm9udC1zaXplPSczMDAlJyBkb21pbmFudC1iYXNlbGluZT0nY2VudHJhbCcgdGV4dC1hbmNob3I9J21pZGRsZSc+WzwvdGV4dD4KCQkJPC9zdmc+CgkJ "[Labret]")
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