This painting came with me from Denver to Fort Collins, out to Fargo and Minneapolis, and then back to Denver over the course of a month in which I worked on nothing else (artwise). It's the largest piece I've ever done, and because my markers have three-millimeter tips that set a boundary on detail, it's the first live painting in which I've managed to actually accomplish the multiple levels of fractal self-similarity that I allude to in the rest of my work. There's a quality to it that I've only experienced in states when even solid objects seem fluid and selfhood streams like tattering clouds through the gusty sky of the Great Imagination. I can almost hear this painting. It whines and whirs, whispering insect secrets into auroral night. Everything else, every zipping thought and mammalian contraction, shuts off when I look at it, and there is nothing left but the ancient and infinite truth of life, mind, and time...an open secret in which all of our human splendor and dignity, story and drama recedes into unnoticeability, empty as I stare at a foreign sky in silence.
Painted live (oil and acrylic pens on 24"x48" masonite panel) on:
2011-01-23 at Quixote's True Blue (Denver, CO) to Praang
2011-02-03 at Hodi's Half Note (Fort Collins, CO) to Invisible Allies, Bluetech, KiloWatts
2011-02-15 at The Aquarium (Fargo, ND) to O Fo Sho, Heavy Is The Head
2011-02-17 at The Whole (Minneapolis, MN) to William Within, Luke Redfield, Noah Earle
2011-02-26 at Cervantes Masterpiece Ballroom (Denver, CO) to Papadosio, Heyoka, Larva Ink