Shattergration: Withdrawal and Emergence Simultaneity Spiral Print

Once the standard sense of self is shattered, the standard labels for orientation become somewhat irrelevant. Nonetheless, back in normaldom those cumbersome descriptors of spatial orientation, and methods of representation are those tools which can be used to try to capture some essence of the realms that have been experienced. Thus, the ´shatter-´ of ´shattergration´, in the metaphoric sense, is the dissolution of the standard ego state; the fracture that marks the end of the day-to-day, functional censorship which constrains the boundaries of the normal ´self.´ Once the shattering of normality is struck deeply their may be fear and attempts to hold on to the habits of ego and familiarity. Yet surrender or fight, when you embark, the manifestation shall still flow through you. The ´-gration´ is the emergent and experiential fact that in the realms post dissolution there is access to an unexplainably complex, realm of flitteringly integrating, new perceptions, thought, emotions, and all the combinations of interplay. In the realm of shattergration, there may be tides that flow in simultataneity - the urge of the initial tiring grasp of the ego interplaying in the flow of an emerging beyond within. So emotionally, withdrawal may be the normal fear of the novel, internal revolution. After all, one must remember that the visual aspects are the aspects that are easier to attempt to emulate. This, nonetheless, does not mean that emotions and their service to the ego will not attempt to hold sway and pull in an attempt at withdrawal to normaldom. Simultaneously, emergence manifests through the uncontrollable thrust of the new emanations of experiential flow. In a spatial sense, withdrawal and emergence may be simultaneously experienced in fractal-like perspective taking. Upon and after, the anchor of the self is shattered across the experiential multiverse. Simultaneously existing, there is contradictory motion as a standard experience of supra-ego perspective taking. Yes, Shattergration: Withdrawal and emergence simultaneity spiral is a crude homage to ´riding the spiral´… an attempt at bringing it back from the realms of the super-WOW! …Back to normaldom and its descriptions more tangible; this piece was based on extending the basic vertical line based compositions of my initial drawings, which were more `incidental´ (See: A) ´Recollection of the Almost Form,´ and; B) `Inception Shattergration Matrix´ in additional images attached to this file). In A, the simple line form skeleton for drawings was experimentally established. This was done on cheap pad paper, and was more of an experiment in too much time on my hands than an intentional and detailed piece. Similarly, B was largely based on curiosity about how to play with the rigid line skeleton of the former piece. These two pieces could be considered the two pivotal, early drawings to come from my pre-commitment to drawing practice phase. A and B established a basic method: 1) Simple vertical lines are drawn; 2) A patterns is superimposed on the lines, and; 3) an algorithm for pattern fill completes the empty spaces. Hence, ´Shattergration: Withdrawal and Emergence Simultaneity Spiral´ followed the basic method established in my `pre-commitment to drawing´ practice phase. In extension from these earlier pre-commitment drawings, ´Shattergration: Withdrawal and Emergence Simultaneity Spiral´ is the first piece that incorporates the ´electric line field´ style that would later become the basis for the ´line weight gradient field´ technique in later drawings. (See picture details for example). In this piece the micro-pointillist style that I had dabbled with in my late teens was also employed alongside the novel electric line field technique. The hours in execution of the micro-pointillist style were very high. Each section using this technique involves two steps: First, a simple standard pointillist matrix is created. Second, an extremely fine, either cut or almost exhaust pen is used to create the spray paint-like micro fill in between the initial pointillist matrix. This is a painfully slow process to say the least! Multiple orientations of the piece are possible, and I recommend framing the work to permit hanging at multiple angles for variation of visual effect. The picture is drawn on Bristol Drawing pad, and marks the first piece using higher quality paper as backing material. This piece also marked the first sense of commitment to a drawing `practice.` (I always thought that word, `practice´ was wanky, but now I kind-of get the idea when artists say it). Purchase of this piece will include a collection of earlier less precisely drawn practice pieces that were drawn during my preliminary, `just killing time´ doodle phase before this piece suggested to me that something more enduring was taking control…