Title: Sketches of Style on an Ocean of Air (Manuscript Art from original "Sketches of Style")

On the Artwork

On the Artwork

Placed in triangular formats, with oblong shapes as empty space left in the overlapping patterns of placement, emphasizing how style is a condition of emptiness or formlessness or the open-endedness aspect in expression, also known as “Sketches of Style”. It is my inkling that the freedom of empty space is the root of all creative inspiration.

“Sketches of Style” as a philosophy of creation is further pronounced where the action painting is done to reflect a kind of stop-motion photography. Whereas for example in improvisational painting or drawing, a line or brush stroke is imprinted with continuity, the blotter/drip action paint necessitates a kind of stop-motion effect, where each stroke/line requires a multitude of impressions almost resembling a kind of proto-pointillism. The perpetuity of spontaneous creativity is embedded within this mode of expression as any other, for to hold the mind in a state without any preconception is the goal, the source and the way.

Within the content of the image itself, which is a self-purported crossbreeding of a kind of “free painting” with “free writing” the sketches of style are the individual leaves or pages on which the writing and art coagulate into a whole expression, i.e. the experimental writing collection entitled, “Sketches of Style”. In the image, the pages float as if upon an open sea, where its wavering surface may bend and distort each page, blurring the paint and stretching the fabric. The water itself represents the practice of stream-of-consciousness poetics which underlies every expression. The reflection of the burning sun in the water instills in the consciousness, whether it is the spontaneous creativity of the writer or the interpretive ingenuity of the reader, a burning clarity, which exists at the edge of being obscured by the “Sketches of Style” pages or even unto greater obscurity outside of the image entirely. Yet, the sun’s reflection inevitably shines through, as visible as an intense ball of hot fire, situated under everything to further emphasize its importance as the necessary opposite of water. Are the leaves which make up “Sketches of Style” upon the water, or upon the reflection of the sun, ready to be scattered in the wind of a cloudless sky?

Preamble

Preamble

The title for this collection, “Sketches of Style” is from a dream. Also, I think even more subconsciously I am inspired by Miles Davis’ “Sketches of Spain” as this collection seeks to emphasize the element of style as a core aspect of the stream-of-consciousness practice of improvised writing, taking precedent over content and form.

The theory behind these writings is that style is an outpouring of perspective as perceptive choice, as in the idea that perception is based on active choice. What you see and register in your mind is based on your levels of experience and notions of reality and creativity. Because we can change our surroundings and ourselves, I begin from the source of my ancestry, which is predominantly Jewish-Mediterranean (from my maternal Grandfather) and so all of the historic and current occasions that I experience are inevitably transformed into a unique sense of self-understanding, grounded in my sensibility and aptitude toward a mytho-poetic persuasion in my perceptive and conceptive modes of experience, realized with increasing personal significance. Finally, I purport to share these realizations through my creative writing as an expression of style in formation as my own being undergoes a kind of formation that inevitably culminates into a complete obliteration of all recognizable forms unto a new way of seeing as the emergence of a unique style born from spontaneous creative practice.

Sketches on/of style: this collection highlights how my writing is not true poetry, rather sketches of style, that is, stylistic renderings of momentary instances, trails of thought, and imagistic devices to bring forth a harmonious and sometimes very dissonant balance between word, meaning and context, whether physically bound by page or voice. These are sketches and remain figments of writing, and are meant as a muse on the importance of challenging and making dynamic what is written. The basic intent is to practice an immediate and raw expression of mind, as sketches of mind to give foresight into insightful analogies between the unique experience of writing and collecting these sketches into a unified collection of writing.

Sketches of Style demands that what is important is not WHAT is written, but HOW it is written, i.e. emphasis is on form and space. Free Form demands that what is important and only important is that there is writing, where emphasis lies on spontaneity, groove, rhythmic stirring and pauses inherent in simply getting a page filled. Poetic identification in strings of words may follow the sympathies of freedom, when in fact, form is not freed unless style is present, as style acts in the life over the author, their certain style, at its blank, utmost vulnerable state, open for all to see in word sketches played over a loudspeaker of a strange mind asking too many questions.

Sketches of Style also utilizes a Free Form editing technique, taking certain phrasings and putting them together from the entire collection of writing, e.g. typing the entire collection as one body of work, going in to extract and replace passages that fit together. Is this similar to the cut-up method? It is sometimes more, sometimes less haphazard a creative process, yet intends equal spontaneous verity.

Obviation from the BLAND


To obviate from this bland mural,
Its strict pull underlies, as a lightning tremor

In the cooled dust collecting raw answers
From the autochthonous matrimony with foreign alliance,

Over the scarred mud-caked plains
Whose agricultural fertility gave way to chemical strife

In the selfish human pandemic,
Lining the hostess and her following with possibility

In the strong-voiced dirge calling back thousands’
Endless anonymity from the last day that rested with holy failure

In the subconscious artistry of classical teachings,
The rowing hearse then busted grease powder over the cinematic river undertow

Blaming adults for adolescent murders between the forked passageways
Leading only to an eye as the Gatsby, Big Brother or Sauron symbol

In our literary pride,
This, the Jungian spur

To claim thought as an answer to human action and reverse that strict pull,
That wintry momentum, forcing isolation

To prepare the frozen banks to flow
And create something from nothing

In the work-a-day paycheque gamble of modern industrial sacrifice,
To put flesh on the archaic altar of physical history or abusive anthropological means

To uncover the drastic findings of proven difference
Among the infinitely masked

January vow,
A matrimony of time, a cyclical reverence for self and selfless meeting

In the single now of death,
Celebrated finally until mental and spiritual dissolution

In the intoxicated air of stifled common presence
For true becoming yet challenging the observant perseverance

In chambered fires, fought and drank in stainless realizations
Conceived while cooking family love in the river’s own electric hot strength, gently

Embracing the nervous mouth of the whole city in one dire expression
To last

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