Spectral Slime Self-Portrait, Alex Alien, 2006
The effects of being constructed by pieces of "creation", is it not, narratively unarrangeable, although self-referential? A contractive-emblem of self; ponder Henri Poincaré's hypothesis:
"(. . .) Then more exact experiments were made, which were also negative;
neither could this be the result of chance. An explanation was necessary, and
was forthcoming; they always are; hypotheses are what we lack the least. . ."
An arrangement, devouring. I won't strait-jacket my attempts, explain'd or not "fully" explain'd (perhaps I could trap myself in a Corbridge Lorica), my ("those") self-portraits[s] from last year, but the self-sextant measurements may be included. Fascinations with dead skin and the illusion of "ugly" and "pretty", fails in the attempt to justify it. I've been asked about them, and how they "relate" (inaptly, I'm thinking) to the effects of one's choices.
I began a fascination (or, it just came upon me like giggles in a brain-washed crowd) with Alex Alien's unexpected (for myself, at the time) self-portraits/paintings/experiments with the contortions and meaty'd proportions of sheer artistry (with a little 'shadow factor' intertwined) and the allowance of unbridled self-experimentation.
Self-Portrait IV, Derrick Tyson, 2006
Finding out his fascination with Bacon, the stretch couldn't have been better. Mr. Alien states: "Yes. Images always already suggest other images as echoes, memory traces; images mutate and breed off other images; one merely makes the marriages between one image and another in the hope of breeding another image, another alien form; like a form of species hybridisation." A shebot-shebang-shebing of things occurring here!
Francis Bacon's Miss Muriel Belcher, 1959 [a personal favorite]
Not only are these particular images/artists the detonating foliage that was influenced by my own creation[s] for layer'd proportional self-portrait[s], but by "skin's width", they are the Entropy in which consistently remain.
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