So I had the physiological and atmosphere with Leonardo. I had my perspective and realism and convincing depth without an illusion on a 2 dimensional surface of space and then the tactility and the guts of Rembrandt with his foaming gave me tangible tactile you know sensations.
I’m driving through the intersection, the light turns yellow and I’m already it turns yellow right when I see it. And a car took off to make the light and I don’t know how they didn’t see me but, you know, they didn’t.
Now I got more attention I’m starting to see to see more subtleties and I’m starting to change the tones.
And that’s where I figured out, I can’t see my thinking anymore. And before that I was a ticker tape. I used to think “oh my God if I could see all the thoughts in my head”, but if I stopped to look at all my thoughts my thoughts would still be going and I wouldn’t be attentive to those so I stopped it. Thinking no more ticker tape thinking just live with it.
So this is what I did with paint
I became rather tedious you’ll take off about 90 percent of brush and rub. People might call it a dry brush technique but it’s, it’s not that simple. So where you do feel any sort of paint, really what’s happening...it feels like the paint is actually going in (it does) and that’s the most accumulation and yet even your hand makes it feel as if it’s going opposite. I don’t do allusions but apparently I paint them.
These are all, all of these images (Osaka Prints) are what make these. These are my interpretation of what’s on that page.
She goes “the most favorite thing I’ve ever seen is called an Lyman alpha blob”, and I couldn’t believe I heard the world blob, from an astrophysicist and I was like what? And I turned over and looked and I got a couple clips before you know it went on to another segment. But these are the largest things, measurable in the universe, 200 million light years across...but I thought it would be kinda elegant to paint the largest thing in the universe on one of my smallest paintings. So I did a series of them. These are all alpha blobs.
The writing really disappears fast it’s only meant for the structure. I’m investigating negative space so the writing is just for me to get to these spaces. And what I do now is just compress. So these black lines are thick. Thicker than that and I use the negative space to shape my lines up.
It immediately vibrated the essence of the painting. And I cannot design a better frame, you know, than that.
I was aware that if Andy Warhol took his Campbell’s soup can and coke bottle, and really focused his attention on something so beautiful to him and his life. His mother making him lunch with Campbell’s soup, and you know, having a coke. What I thought was my most important things were my blue jeans. So what was I going to be able to do with my blue jeans. Well my blue jeans were my favorite thing, the most beautiful thing in my studio was that darn Off can on the window seal.
If I just started tapping the painting with the pens, but making marks. Both hands, it started out with one hand and I realized that was to normal. And I wanted to get both sides of the brain working. Not left side, right side, just not something dead. And I was aware of it.
So now in a word that means nothing, I’ve read every word that’s necessary for a war.
Important Atmospheric Precipitation
It’s a homage to Basquiat, it’s the slatted boards that he did his painting on that’s on the back of his New York Times cover.
his is a paining of a silhouette of me, which is the closest I’ll ever get to a self portrait with any type of seriousness.
But the writing on whole painting that only appears in the silhouette is the allegory of the cave by Plato. So I am what I think I am and this thought is painting the reality that I have no control of.