As a child, like most children, I was not much interested in designating the differences between ‘real’ and ‘not real’, (not to mention that much of what was considered ‘real’ by the adults around me seemed positively distasteful). I longed to know, to validate and discover, to make real and to follow the beauty, mystery, and luminosity that emerged unexpectedly in glimpses, at moments when the motivation to avoid punishment receded or the teacher looked away. This longing did not loosen its grip on me.
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EnFolding Research
About a mile and a half down the path from my attic rooms, (home since March) is Grey Matter Books, a maze of a used bookstore. I am feeling for threads, listening for the emergence of the voices that will guide fresh work, as winter descends upon the aftermath of my frenzied graduate studies.
The art section that I thought I was headed for is two rooms deep past multiple corridors of books, but I barely get past the register today.
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Divinatory Poetics
Not knowing, waiting and finding — though they may happen accidentally, aren’t accidents. They involve work and research. Not knowing isn’t ignorance. (Fear springs from ignorance.) Not knowing is a permissive and rigorous willingness to trust, leaving knowing in suspension, trusting in possibility without result, regarding as possible all manner of response. The responsibility of the artist […] is the practice of recognizing.
~Ann Hamilton
Divinatory Poetics describes a particular approach to composition: the cultivation of attention, entering in to a sort of lucid trance, experimentation with modes of thinking and angles of perspective.
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