When we make art, there is a pardox that we are “chasing.” We have not categorized it yet, we are scientifically documenting the patterns related to it. We are going as far as we can to the end of it - till it comes full circle, before we say that we know it, so that we can see the whole thing without categorizing it. If we do this, then we get to the end, then it comes back to oppose itself. We see the extent of it, how comlicated it is. People choose different amounts of complicatedness for the concepts they choose to chase. If a thing relates back to a policitical cause, its not art, its no longer anything. We are simply looking at the natural ways that our mind works. If we try to simplify them to a level that w can understand while we are living and while we are not experiencing things that are there, then we are losing the concept. There can never be a point to an art piece, if ther eis, the concept is lost. If there is apoint to art, we are saying that there s a point to all of life And there can

it should be noted that this is very similar to the category of insane behavior and this is one of those things that is not by coincidence. it is no accident that all things that fit into the category of art should be the product of strange behavior, classified as insane, abnormal. In order to fit into a real art state, we must become crazy, if only for a second. but this craziness affects us lifelong - it may be just a crazy time period in our lives, but it makes it so that we could then also say "that sanity [that followed it [or came before it]] was just a time period in our lives, a crazy time period."

The question then became, How else do you do it? Irwin's first gambit was to intellectualize the process, to look fro more clever solutions, more interesting, more profound solutions: for example, to float one line right u near the upper border to the canvas. But that just reintroduced the literal subject once again, pointing, not to the presence of the canvas, but rather to the cleverness of its composition and, by inference, of its creator. The painting became a painting about how smart the painter was.

So once gain Irwin was faced with the question of an alternative. The answer he found, in time. He would sit and concentrate on the canvas for hours, for days, for weeks.

"I started spending the time just sitting there looking. I would look fora bout fifteen minutes and just nod off, go to sleep. I'd wake up after about five minutes, and I'd concentrate and look, just sort of mesmerize myself, and I' conk off again. It was a strange period. I'd go through days on end during which I'd be taking these little half hour, fifteen minute - twenty minute catnaps about every half hour - I mean all day long. I'd look for half an hour, sleep for half an hour, look for half an hour - it was a pretty hilarious sort of activity."

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