chills, resentment, tortilla soup
cold, windy, chilly night. i was in bed, couldnt sleep for hours. now, the internets. sacred chimes dancing wildly outside my window. finished painting, unhappy with it. something's missing. in me as well. raincheck for the boy, didnt feel like it. & fab is off to the *other* olympics. by god, it makes me mad. resentful, even cynical. i want to reject him, chew him up & spit him out. the very idea! tasteless, appalling. for him of all people. not to mention... oh, forget it.
think of other things; theres plenty to do.
may see the boy after all. he means well, he's got puppy eyes.
the why?
i think i feel for him for feeling for me.
%%%%%
CONQUEST OF OPTIMISM, 1985, oil on board
about the painting:
At this time the world was in a depressing state of anxiety over the fragility of East/West relations, and the senselessness of the arms race. We were bombarded with pessimistic media images and it seemed to me that this pessimism was more than a symptom of the potentiality for nuclear war but a major contributing factor in the possible cause. My protagonist in the painting became my pillar of strength and the exaggerated glow from the fish the source of optimism that she carried. The two energy-charged sets of power-lines are a symbol of the potential for constructive dialogue and commnication. It was the first time I was confident enough to use a variety of non place-specific elements within a painting and thus break out of the subjectivity of the place/identity restrictions that realism almost inevitably finds itself in. seen at: http://www.pacificislandbooks.com/niue.htm
think of other things; theres plenty to do.
may see the boy after all. he means well, he's got puppy eyes.
the why?
i think i feel for him for feeling for me.
%%%%%
CONQUEST OF OPTIMISM, 1985, oil on board
about the painting:
At this time the world was in a depressing state of anxiety over the fragility of East/West relations, and the senselessness of the arms race. We were bombarded with pessimistic media images and it seemed to me that this pessimism was more than a symptom of the potentiality for nuclear war but a major contributing factor in the possible cause. My protagonist in the painting became my pillar of strength and the exaggerated glow from the fish the source of optimism that she carried. The two energy-charged sets of power-lines are a symbol of the potential for constructive dialogue and commnication. It was the first time I was confident enough to use a variety of non place-specific elements within a painting and thus break out of the subjectivity of the place/identity restrictions that realism almost inevitably finds itself in. seen at: http://www.pacificislandbooks.com/niue.htm