troy ouncesFather, how our circumstances have changed.troy ounces by Philliewig
Remind me, as
I'm honestly insincere;
We weigh words in troy ounces,
Waiting in the drone hours.
Waiting within the drone hour.
Father, how our circumstances have changed,
Playing at sheep among the wolves.
We toast to these bigger and better things
Drinks clinked at the grown-up table,
Weighing these words in troy ounces.
Here we are
Breathing sighs of relief in the drone hour
While bombs fall overhead,
weighed down in troy ounces
at the table we share.
We weigh words down with troy ounces,
daring to live where ghouls dare not tread,
Calling it paradise
Under naked trees.
|Out of paranoia of the passage of time, and my diminishing relevance on the site, I'd love to ask of you to give if you can Maybe that'll be the extra push I need to properly get back into the community and start promoting again|
I'm a multimedia artist, musician and writer from Minnesota.
"-'What is art to you?'
Something that elicits a response from the viewer AND the artist, be it emotional, psychological, intellectual, physical, etc. The key thing is that there must be a connection between the piece and BOTH the artist and the viewer. I feel that an 'artist' is someone who can make that emotional investment into a piece and share that attachment with the public. I personally respect the more avant-garde art styles more than traditional representational styles, simply because it is harder to elicit that crucial response from the viewer, and much, much harder to form that bond with the piece as an artist."
Ever since I've started painting and creating what I consider to be 'art', a lot of people have asked me "why?" and "how?". When I paint, I try to capture the essence of the moment I'm in. I try to create something that will elicit an emotional reaction from the viewer. The deconstruction of figures, scenes and objects are intentional to leave everything to the interpretation of the viewer. The less I show and the more I suggest and imply, the more I put into the hands of the individual viewer. The more ambigious the piece is (in my opinion), the more the viewer can put of themselves into the interpretation. Often, this interpretation dramatically differs from my personal feelings to any given piece. Where I see pain, others might see happiness. Where I express anger, others interpret peace.
During the creation process, I emotionally compromise myself to open that door that so many insist on keeping sealed shut. I let out all the pent up rage, depression, anxiety and insecurity and pour it onto the palette and onto the canvas. I generally don't plan works out (in fact, I try to avoid preplanning), as I feel that act of planning kills the spontanious energy that I seek in my pieces. I let the piece work itself out, making on-the-spot decisions on what I'll do next, what steps to take and what ideas I want to get across.
I don't create because I want to get famous, get rich or anything like that. I create because I have to. The catharsis I experience while creating is unlike anything I've ever felt, and I need that catharsis to survive. In viewing my work, you are taking a revealing look into how I view this world of ours.
Welcome to my perception of our reality.