Continuing my work on a triptych of vintage execrations, I’ll be starting my second panel this weekend. Elements of jade, the moon, a rabbit, Chalciuhtlicue and her son, Tecciztecatl, and booze. You know, the usual shit. Florentine oils, surrealism, caffeine. Below is the first panel, the left panel, done in greys and siennas. The middle panel will be in greys, jades, and very minimal touches of azure. The third panel will be primarily a ruby, with a golden section diminution of the extant colors used in the other two paintings. all three together represent one idea. And the viewer enlivens the idea, becoming the fifth and final element of the piece. In this Age of Information, of cybernesis, this work is a form of personal divination, rising from crude earth through the noosphere of pure thought. The experience is transcendence but not The Transcendant. For every person, it’s different. Whatever.
These colors to me mean many things. They evoke certain things in me. Exploring with these colors allows me to conjure a sort of conjunctive story that I piece together. I conceived of this project as a simple 3-panel picture depicting a sort of alchemical arrangement of symbolic objects that would perhaps serve as a machination of certain desires, sigils to unlock dreams, tap into subconscious energy, and central to this trap is the mother of all revelry, the “two-rabbit” god of Aztec party lore. He presided over 400 hundred rabbits, who’d show up to get things going. If you were sober, there’s 400 rabbits. As you became more and more wasted, the rabbits converged, until you were left with Ometochtli, two rabbit, because any god named One Rabbit was never mentioned. Ever. At the same time, the Rabbit in the Moon motif is full of unknowns. Who threw the rabbit in moon’s face? The rabbit has no name, and the god who threw the rabbit is never named. When you look at the rabbit in the moon, you are reminded of deep drunkenness, and the moon is the son of the goddess of rivers and waters. So, seeing the reflection of the moon in water is somewhat seeing life emerging from the sun, removed. It’s just an abstracted creation myth bound up in a new strata of motifs, the dimmer twin of the cosmic creation, the dream of an artist. The artistic vision which, like the first panel, must emerge from human form. In the second panel, this vision unlocks the portal into the fifth and final world, and lays the basis for the unified field theory, where the four forces of the cosmos are unified in the Higgs field. Party. I’ll be working on it over the Christmas holiday to commemorate this historic passage coinciding with the contemporary belief that we are experiencing an end time, or movement into a new phase, the fifth world spoken of in myth immemorial. You know, the usual shit. Satya Yuga will be the focus of the third panel, which uses elements from Native American, Zoroastrian, Hindu, Buddhist, and Egyptian mythology, an arbitrary 5-fold tory I’ve told to express the freedom of Satya Yuga, the Age of Truth, the unity of the other four ages, and so on. The usual shit, and I’ll be drinking up the good coffee and having a nice long run.