I kind of missed your Goldsworthy allusion. And then I didn’t. THAT Goldsworthy… to the extent that he, too, engages in a dynamic balancing act. P&B had their pictorial compositions and he his precariousness. Makes me see the biscuits, forming a bakery rainbow, as they arch from barely baked to burnt. Has happened to me on the beach.

Did you read the 6 reviews in the Friday NYTimes’ “Art in Review”?

I am always disappointed by how easily we are derailed by Media’s infatuation with Money and passive-aggressive attraction to Dismissal. These reviews suggest, I think, with an open-mind and some willingness, Art thrives (and yes, Karl, in NYC).

You cescribe well my usual art-making processes — I try not to verbalize much of anything important about a given work for a long, particularly when I’m just beginning a new series.

The Cubism project, of course, came from words and because I feel no affinity with the art, all I can do was look and read and cling to the hope that something will arise from the process. If something happens, then the process may be more interesting to me than the final product.

Once or twice, as I havelaboriously been making my way through the studies, I will happen upon a line or shape or “fit” that comes from that other place, the place where “something has happened” the place that I think of as making real art. I am not even close to being in control of this yet — I don’t even know exactly what it is — but, as they say, I know it when I see it. The energy is there, even in making something as alien as the cubist work is for me — the energy has emerged for a second or two.

What I am interested in seeing is if I can find the non-articulated ways to bring that energy forth a bit more methodically, or on cue rather than having it appear and disappear at its own whim.

Thanks for this review of the discovery, or creation, of cubism.

I think it is better to do art not “concept first” when one is exploring. The reason is that a concept, formed in words, may distract from or block the real visual breakthrough.

However, when the breakthrough has occurred, when the artist has the feeling that something exciting is going on, then could be the moment for describing in words the visual “concept” that is already formed.

I feel like I am at this point with some of the paintings I am making. That is, I feel something has “happened” or is “happening” with the work, a kind of breakthrough which part of me understand, but not the part of me that can write down the concept. It’s a curious sort of feeling, like having someone excitedly explaining something to you in a language you do not understand. The energy is there, but not the comprehension.

Then again, this feeling of an uninterpreted “breakthrough” might be a visually-inspired “illusion.”

Maybe that is good enough…

Let the fourth dimension be with you and guide you.