A Surrealistic Adventure: Part 2

 

Finding himself atop the high mountain

It was cold and barren.

The trees were none and the icy shell

Made for slippery steps.

On guard for danger,

He took a sudden leap,

And soaring downward

Almost weightlessly

He flipped forward in full rotations

Loosing ultimate bearings,

He also lost count of the somersaults

Because he did not have

A starting point of reference

To mark the count.

To him, his world was blurred—

The images orbited in streaks

Through his stationary field of vision.

Finally touching ground,

He found himself near the middle of the slope—

Tumbling along with the mass of a heavenly body,

He eventually ground to a halt,

Not before sending fragments of dirt

And forest floor debris hurling into

The light air.

Regaining his vision, the Mountaineer

Could now focus clearly on infinitesimally minute details

In his new found setting—

The deer roamed freely—without fear,

Casually munching on leaves and bark.

Their quiet snorts and wet mouths

Calmly but actively moving

Were received by the onlooker

In seemingly amplified fidelity.

The fleas bouncing around

The bristly hide

Sent dull, yet penetrating

Reverberations outwardly

In retarded spherical emanations

Of crashing molecules

Battling for rest in their

Weightless equilibrium.

As he gazed around the lush forest

With all the sweet aromas

Carried in the crisp and smooth air,

There was a silent sound

Tuned with exacting precision 

Which had not an end nor a begining.

In light of this quiet energy,

The traveller took to building—

First, a Hut, then an Aqueduct,

And lastly a Basket.

The latter was finely woven

With nimble fingers

And still attention.

The materials were all

Readily available

And were worked

With ease.

Every breath

The climber took

Here, in the middle

Of the slope

Was eternal.

Every task

He set

About

Was 

Finished

Before

It

Was

Started.

MS2020

 

 

Autumn

 

Night and Day
Come and pass—

The stream,
The moon's orbit,
Motion—

Nature's allowance,
The pristine waters,
The weaving creek—

The crystal sounds
Of the stone studded brook—

The sweet breath
Atop a mountain,
Rich green, payne's grey,
Cadmium yellow, and crimson

MS2020

A Surrealistic Adventure No.1

Sliding down the slippery slope

The rank air encapsulated

The greenish grey muddy landscape

Far into the distance.

Just as the speed of descent quickened

And the body gradually lost more and more control

A fissure began to open up smoothly

Like a giant lesion in the skin of the hill.

Scrambling in confusion, the victim

Unaware of the unfolding events

In his immediate path

Found himself coasting through a vast

Interior—airborne.

There was a gaping grin stretched

Forcefully across his face

And guttural laughter was found to 

Project from his interior in cloudy jets of 

Intervallic ejections.

As the speed reached a dangerous level

First the skin and flesh was lost,

Then the bones and their entrails were left behind by air resistance.

The victim continued to gain speed until

all movement seized—

His existence felt to permeate outward

In a single ring of electrically charged smoke.

In contrast, an atemporal feeling of inward collecting

Was also apparent and as always

The unity of life was present.

MS2020

Short Circuit

 

Short Circuit

 

The story punctured

Leaves not a trace,

Past memories

Disintegrated

 

MS2020

Notes on General Concept

 

On the Concept of the Wood Forms:

 

Generally speaking, the concept has evolved over the course of the wood forms' career, beginning with solid forms and morphing into hollow expressions of light, open invitations. Not to say that solid forms will not emerge at present, but in the interest in outlining the main stream of movement, this is the case. From the outset some aspects of the approach remain unchanged; namely, the necessity of a penetrating mind state (which unfailingly involves lucidity, peace and passion) from which curious forms may emerge on paper; and, the highly abstract conceptual direction where contours, solids and space act not as signs, symbols or concrete representations but as a vocabulary in and of themselves used in the composition of visual poetry, if you will, where in critical retrospective deconstruction the parts and whole may be identified as representations of metaphysical subjects of inquiry. As a material structure, the sculptures inevitably exploit physical ideas such as pull, tension, duality, harmony, compromise, mutuality, interdependence, inseparability, intrinsic non-duality, spatial interaction as equal partner, and dynamic structural balance. It may be interesting to note that these physical concepts may have assumed a greater focus in the earliest instances in titles such as "Arch", "Stretch", "Reach" and "Symbiosis".

Freeform No.3

Amidst the enveloping light
The scene's scrambling commotion
Available to the greater view—

Sudden blindness ceases not
The continuity of motion
Even at rest—

From the droning silence
Emerge empty attacks
And thunderstorms of peace

MS2020

The Onlooker No.1

 The Onlooker No.1 - September 3rd, 2020

 

 

The vast space between the onlooker and the nearby plant
Seemed like infinity.
Eyes shut—

Eyes open.
The streak of illumination
Penetrated the dusty air,
Setting aglow
The slowly migrating patches
Of grey particles—

Meanwhile outside,
The bending light made people
Crook their necks in mystery—
“How could something so miraculous
Happen so effortlessly?
Why can’t we grasp anything?
By the time we reach for it
It’s already gone!”—

In his dream, suffocating volumes
Of sparkling glitter
Flowed in
In waving walls of pressure—

His eyes were flooded
With abrasive light
And crystalline powder—

Immobilized in a seated posture,
He drifted
In space.
So light yet so weighted
Was his being—

Outside, the loud speaker
Crackled with electronic
Amplification
As the deafening horn tore through
The occupied crowds—

The massive gathering
Began to rise above the ground
Whilst in a state of inattention.
The onlooker then knew
Where he was and regained
His footing.

MS2020