“The study of visual perception is one of the areas of cognitive science that has made the most dramatic progress in recent years. We know more about how the visual system works, both functionally and biologically, than we know about any other part of the mind-brain. Yet the question of why we see things the way we do in large measure still eludes us: Is it only because of the particular stimulation we receive at our eyes, together with our hard-wired visual system? Or is it also because those are the things we expect to see or are prepared to assimilate in our mind?”-Dr. Zenon Pylyshyn.
My consciousness disappears in architectural spirals. Materials and geometric shapes rustle in some part of my mind like rustling gravel crunching under the wheels of a truck. Oskar Fischinger’s choreographed abstractions play with space. Those winding crinkly curves are wrapped around the dancer’s body-aerial reflections of sweeping white smoke as the turbulent patterns on the membranes of starfish egg cells transform into spatial paths-torn apart into a wool of vapor-a nuptial of phantoms. Transparent oocytes of the starfish mumble in sleep or anesthesia-symbolic figurations that represent the transition from space to body.
In plumes, silks and ruffles I paint my emptiness in the colors of straw. Hummingbirds stop by in curiosity, but a galactic silence protects me. Circles, waves, loops and twists form ephemeral sculptural configurations resembling topos formulas skidding and rocking like falling leaves. I imagine stunning myself in the skies with a breathless series of spins.
(In art there is a complete sweep of visual things. In life, there is a certain stupefaction that follows the sweep. Unremembered faces become geometric paintings or sculptures when you cannot figure them out. The language of shapes is easy to touch and smell or even taste. Shapes should not be painted or sculpted inside boundaries or indicated by explicit notation of scales. Shapes are tools for verbal expression. Visual order and harmony, rules of structure or computational designs float further away as oceanic winds clash against eucalyptus and I set myself free on the blue sea and the blue sails on a morning without sunset.)
I like to confirm everything with my eyes first.
Wandering towards the glimmering sun,
Coming back to write it all down quickly,
Lest it all gets
Night falls…the water darkens, desires are catalogued down into the seabed.
Metaphors are never forgotten or lost,
You’ll find them in old newspapers or ripped magazines,
Discontinuous shredded clouds coax us to believe that cold air makes sharp shapes-
Timeless layered symbols,
Squeak happily on the continuum of landscapes-