Roses bleed just like we do
This piece is part of a series of artwork where I try to superimpose meaning on all kinds of objects that mean something to me.
Roses bleed just like we do
This piece is part of a series of artwork where I try to superimpose meaning on all kinds of objects that mean something to me.
You see the Stonehenge
But I see NYC, legacy, world history
Man in the robot; robot in the man.
Meaning before the object, imagination before contemplation.
The walls of my room are white; not the kind that blinds your eyes but the kind that escapes notice, fading into a very light beige over the years. That tends to happen when the air where you live isn’t great.
I love my walls. I love how they reflect the diffused yellow glow of the sun that leaks through the curtains in the morning and how they don’t dissolve into the darkness when I turn off my light at night. I like how they flaunt their bruises, parts of my life that are etched into them, reminding me of a time when I was shorter and obsessed with leaving a trail of glue or paint on the wall as I ran tracing the walls with my finger. Doodles in fading pencil remind me there was a time when I wasn’t living from the table to the bed and back, of an awareness of space that belongs to the least of these, to the ones that are small enough to live in corners and edges. The white walls in my room reflect people. They reflect me. In this, they have much in common with the canvas and the paper.
Tabula Rasa. ‘Form out of me what you will’
VIBGYOR spins endlessly and dissolves into white. It’s not a lack but the fullness of personality that defines it. Infinity is a mirror. So are my walls.
A white box is the perfect cage for me. I like preserving myself way too much. In the past year, I have gone outside only twice. I spent almost all my time inside this room and I never feel like leaving it. A bit odd for an extrovert. For some reason, the white walls don’t make me feel like I’m caged in. I’m starting to believe it has something to do with how reflective they are. Of me
“There’s no skin”, I tell myself whenever I’m lying in my bed staring at the walls.
Colours are like skin; like faces. There’s so much underneath that isn’t part of the obvious; things that make us human, things that make us love, laugh, and cry. Behind colour is the universal, unifying truths of life. When I see colour, I know there’s something behind it. Experiencing it feels like reaching beyond and entering a world that is so much more than what I can see and touch. It can be an incredibly intense experience; like a passionate kiss or making love. The inadequacy of the physical body to facilitate the expression of passion makes you exert yourself in a way that ends in something that feels supernatural and sublime because you just can’t believe your body alone could provide you with something so gratifying.
The yellows of Hemingway, the red of Raskolnikov, Faulkner’s bluish grey, they’re all I can see and feel of the universal truths that lay underneath. They’re like faces of women I’ve loved, the beauty of simplicity that veils the limitless.
But let’s not speak of love today. This is about one man and one man only. White does not remind me of my ability to love another but my acceptance and regard for myself. The white walls in my room don’t tell me there’s something beyond. It tells me there is something within. It reminds me that I have things to write and say. It does not remind me of purity or flawlessness but the possibility to preserve myself because it reminds me of a blank page
I look behind dark yellows and I see sadness, I look behind reds and I know what Raskolnikov felt. But when I look behind white, all I see is me. And oh, how I love to see myself. I have things to say, things to write about. The world should know that I felt something in this life.
That’s why I never want to leave my room. That’s why a white box is the perfect cage for the artist.
P.S. I hope you understand now why the illustration/painting has the colour of skin in it.
For our soul is raised out of nature through the truly sublime, sways with high spirits, and is filled with proud joy, as if itself had created what it hears.Longinus
Feel/processing the idea of who I am and what the ‘other’ is is something I try to do with a great deal of honesty. It makes for sublime moments of satisfaction and shameful moments of self-hate.
I don’t think I’m guilty of locking away parts of myself because I am too afraid see myself for who I am. I might not let everyone else see all parts of me but I see them all. I see myself and allow myself to hate who I am. It is painful but the alternative is not an option. The only solution is to learn to love myself. And I am learning…
In allowing myself to be vulnerable in the way I see myself and perceive art, I have had what I will claim to be sublime moments. What are sublime moments? Let’s just say it’s like glimpsing infinity for a moment and being utterly in awe by how much of it your mind was able to handle.
To feel the intensity of an epiphany or any form of sublimity is to be stretched and bent to the point where the irregularities which lay hidden in the shrunken folds of your everyday life become visible and obvious. In your attempt to behold everything in all its detail, you experience sublimity. When I’m listening/watching/or reading something that facilitates a sublime experience, I am made aware of an ability to feel/ attempt to feel that seems incongruous with how small and fragile my physical body is. If you take a rubber band and make a dot on it with a marker and then stretch it, the dot becomes an irregular line. That’s what is required of you to experience sublimity. As you stretch, test the limits of your ability to behold, you experience a vastness that surprises you and a resolution that matures you. You don’t need to understand what you see. The joy is in how much you stretch, how much you strain to enter uncharted territory
“Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt”Immanuel Kant
Last year, I spent quite a lot of time watching Grey’s Anatomy. I was fascinated by all the medical terms and techniques. Around that time, and even now, whenever I’m listening to a song that moves me or a particularly powerful scene in a movie, for an instant I see a vision of my chest being ripped open and a hand reaching in and pumping my heart. When it happened for the first time, I was confused. It’s such a bizarre image. But I knew it meant something and in contemplation I found the reason to be obvious. In GA, there were many times when a patient’s heart would stop mid-surgery (or something else happens. I’m not sure because I’m not a doctor) and the surgeon would manually massage/pump the heart. It’s a very powerful image. The hand reaches into the chest and cradles the heart. It’s scary. Maybe that’s why I found it be akin to the experience of intensity that comes from being able surrender to the moment, a freedom to enjoy the epiphany brought about only by the exercise of vulnerability in thought. By some cosmic grace, I was able to behold with a brutal honesty the stretching of a self shrunken by the vanity of life. It is grace because it is given to me. Many things, be it the surroundings, the music I’m listening to or a work of art by somebody, they all come together to demand an attempt to try and touch what is beyond, an attempt that would test my limits and thus provide me with a sublime experience. The patient lies on the table, powerless. The hand has to reach into the chest and make life possible.
But like I mentioned before, a hand pumping a heart is a scary image. There’s blood everywhere and you are constantly reminded that anything could go wrong. Sometimes when I let myself go and feel/think, it ends up with me in a very dark place, a place where I hate myself and fear the future. It feels like imploding. Not too long ago, I had what I think was a panic attack. It felt like I was falling into myself forever and there was no way to escape, to make it all stop. Sometimes that’s where I end up when I allow my mind to be vulnerable
But even in all the darkness, there is an awe of newfound depth of experience. Monsters may not be beautiful but they can be sublime. To feel myself being stretched to the limit, bent to the point of breaking as I try to understand what the darkness is excites me even when it brings me pain. As the saying goes, curiosity killed the cat, but satisfaction brought it back.
I do not quite understand what it all means yet. But I feel like I’m onto something big.
If you look at the painting I made for this post (at the beginning of the post), you’ll see how the person is on his knees with his back bent backwards. That’s a posture I identify with the experience of epiphany. It’s a picture of surrender that is not inspired by fear or reverence but by a lack of it. To bend down with your face to the ground can also lead to an intense experience. There is definitely an experience of freedom and sublimity in reverence and submission. But that’s a topic for another day.
If you’ve read my post ‘Obsessed with loss of potential.jpg’ (https://thefourthdimensionoflife.wordpress.com/2021/07/10/obsessed-with-loss-of-potential-jpg/), you’ve prolly seen this painting.
In the above slideshow, you can see the entire painting and also the part of it I want to mention here. In the 1st slide, you’ll see how the character has the same posture as the person in the painting at the top of this post. Back bent backwards. This painting however, is less dark/depressing than the one at the top. The latter is what the imploding I mentioned earlier feels like. It’s painful, dark, and scary. But the fact that this dark tornado of depressing thoughts came from me is something that intrigues me. In this, such experiences are sometimes sublime. On a completely different note, how funny is it that I find yellow be a very depressing colour??
I don’t know if you’re still reading. To be honest, this is more for me than it is for you. I write because I need to make sense of all the thoughts that plague me. I’m sorry if I haven’t made things simpler. These posts are written in one sitting and usually when I’m sleep-deprived and tired. I rarely edit. I just want to get my thoughts out there. To do anything more is something I don’t have strength for at the moment.
I care about all of you as a blogger, in a way that is made possible by the sheer humanity that is on display on this platform.
Neither do men light a candle, and put it under a bushel, but on a candlestick; and it giveth light unto all that are in the houseMatthew 5:15
The void is comforting; it takes away all points of reference. Imperfections are powerless in the edgeless, cornerless space that I call loneliness. Here, in the darkest period of my life, I remain a candle that rejects the gravitas of the candlestick for the blissful ignorance in the dusty nothingness under the bed where monsters sleep.
I burn here
I burn in red and yellow, like a fire.
Yellow is the tears; yellow is the sunrise; yellow is the reach and the contrast; yellow is the depression.
Red, my love, is Raskolnikov; Red is blood rushing into the brain with a vengeance; Red is the confidence that shrouds confusion; Red is the panic and the pain, the push that never pulls back.
I…I burn in these.
I try because I know this. I try because I seek the corners; reproach without the embrace. I have crushed the mustard seed and I have seen the faith. I try because in the void nothing can protect me from myself. By skinning myself and showing you that I bleed, I find a branch to hold on to as the storm tries to suck me back into that narrow middle of the hourglass where everything stops but hate prevails. I know I can stop them, I can stop the sand. But I don’t want to.
Your art makes the clock run faster and longer. Time goes faster in the museum; time goes faster on Instagram. It goes too fast for me. Yes, your art makes me feel happy, excited even. But it never grounds me. Your art has never worn my colours and I doubt it ever will. I am alone in this.
The only way to ground myself is to dig in, into myself.
This is why I try. This is why I make art.
Because I am alone in the genius.
You’ve probably seen huge one-way mirrors on the walls of interrogation rooms in movies. Wouldn’t it be cool if hoodies had one-way mirrors?
Hoodies are often associated with criminal activity, especially in movies. It’s funny how it’s also associated with the confident/arrogant boxer/rapper personality. In this context, it’s function of hiding the face of the person wearing it is in direct contrast with the function of the setting the person is in, be it a stage or a boxing ring. That’s why it’s cool. The statement is strong: you don’t even need to see my face because I’m everywhere. I don’t need to care about making my face visible. I have transcended the human need to be seen. And so on.
Coming back to mirrors on hoodies, there’s a reason why I think a hoodie with a one-way mirror where the face is supposed to be would be a strong artistic statement. You’re threatened by things you don’t know, not by things you know. That’s why a person in a hoodie, in certain situations, registers as a threat. If someone is wearing a hoodie with a one-way mirror, they are able to see others while remaining hidden and others won’t find them scary because they see themselves in the mirror.
You’re not scared of yourself. You know yourself.
Obviously, this is not supposed to have any function in the real world. It’s a thought, an insignificant random thought of an unapologetic eccentric who has little idea of what constitutes good art. L’art pour l’art, I say.
I just thought it would be a cool statement to make. Maybe I’ll make a hoodie with a one-way mirror one day. It seems possible. For it to work, one side has to be really dark (inside the hoodie) and the other side has to be well-lit (outside the hoodie). I guess I’ll still have to figure out how to make it breathable lol. Who knows? Maybe I’ll end up being a wannabe EDM artist. If Marshmello and Deadmau5 pulled off those really weird helmets, I might be able to pull this off.
I made this animated gif today cause I felt like it was a great illustration of how I try really hard to have the right perspective on things and it just doesn’t stay the way I want it to. Growing up Christian, I was always asked to not focus on things below (worldly things) and on things above (God, eternity, etc.). Now, as I go through a crisis of faith, I find that really hard to do. I really don’t have any idea what I’m supposed to look at. Well, I’ve got a vague idea of what’s beautiful and true. However, aligning your perspective to something sounds like a big deal and I don’t know if what I know right now is of substance or worth committing to.
Question: What do you align your perspective to?
My entire life has been an exercise in running towards the tunnel at the end of the light, an obsession with running away from anything that has the potential to create true human connection. Darkness embodies an emptiness for me that does not need to be filled. The void doesn’t threaten or judge; it allows me to be myself. In the acceptance of loneliness, I have the opportunity to be a part of this world at the low price of being an actor. It is in service of this necessary role that I have perfected the art of walking into a room and becoming whoever I need to be to protect myself. I have concluded that at the heart of this horrid practice is the belief that no one can ever truly understand me.
– from an entry in March 2021
I wrote this a few months ago when I was in a very dark place. Although the epiphanies that I had during this time were capable of leaving a mark on my mind, I recall them as having risen out of a mental state that was prone to self-hate. I look back on this period in my life as one of transformation. This is very odd as it happened only a few months ago. Usually, it takes a person years to look back on a period in his/her life and say that it had a transformative effect on them. Maybe, the pandemic and the small room I spent the last 12 months in probably has something to do with this unusual maturation of thought.
Before we start, I must say that I was hesitant to share the above passage, which has been taken from a longer piece I wrote; not because it is a personal piece but because I cringe at how my mind was reduced to a sponge that absorbed everything and anything to the point where I was falling down a bottomless pit of hopelessness and anxiety. I cringe not because I am ashamed but because I had no understanding of how fragile my mind really was.
When Keats said, “the only means of strengthening one’s intellect is to make up one’s mind about nothing, to let the mind be a thoroughfare for all thoughts”, I should have given him a piece of my mind. LOL. Just kidding. Of course, we are not talking about Negative Capability here although I do believe that I have developed a similar capacity over the past year and it possibly had something to do with what I will be talking about in this post.
The past twelve months of lockdown has been like pushing a giant rock up a mountain, as in the Sisyphus myth. A few months ago, I finally reached the top. When the blissful distraction of hard work and focus had left me and the pain of self-hate threatened to consume me, my eyes searched for a glimpse of the promised land but I was disappointed. What I saw instead was the infinite regress of my own insecurity. I feared death, loneliness, the loss of potential and the uncertain future. The rock had by then rolled down leaving me with the crippling knowledge that pushing it up again was probably not going to change what I had just seen. In a moment like no other in my blip of a past, I felt panic. In that moment, I wondered what Moses felt atop Pisgah as his eyes saw the Promised land and he heard the certainty of death in the valley.
The challenges of being a college student in the middle of a pandemic, my isolation from the religious community, and my frequent and reckless introspection had all led me to a place where I found myself drifting away from God, my family, and the rest of the world. I didn’t know what to believe. The pain of having everything you believed in shaken and taken out from under you is extremely confusing and painful. I felt more vulnerable than I ever did in my entire life.
But with time, music, the love of my family and a few friends (I’ve learnt I don’t have many), and the indescribable power of the God I truly want to believe in, I found myself slowly making it out of the darkness. I had finally realized that while darkness covers my imperfections, it cannot protect me from myself. I need people, I need God. I don’t know what that means yet but I have the courage to search. This, I know.
I thought twice about posting this because I did not want to add to the darkness in the world. The passage and the artwork are both very disturbing. However, I am sharing it because I have resurfaced, found land, and started on a journey that I believe will be a fruitful and adventurous one. If you’re still reading this, I thank you for caring. I would really appreciate your company in the comments section. Be well.
A loooong time ago, God created trees. Then he asked all of them to pose for a photo. In heaven, God has a family photo album of everything from the beginning of time. The trees were extremely happy to be part of God’s photo album and so they posed. Then God took out his nifty little camera and clicked.
The trees were still getting used to the Sun and the flash was so powerful that they put their hands up to shield themselves from the light. And so, they were forever frozen in time with their hands held high.
And that, kids, is why tree branches grow up and not down.
Then, after so many years, when humans were made, they saw the trees and imitated their posture. Trees gave them fruits and shade and they were full of life. Thus, the pose came to be synonymous with life, abundance, and joy.
So, next time you see a tree, raise your hands up, look up to the sky, and smile for the camera.
Memories are like a coat of wet paint on the walls in a busy narrow street.
They’re not gonna stay the same.