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Paint sticks to the surface despite gravity

Stephen Hornsby-Smith

The gravitational pull has collapsed the universe of the inquiring mind of the Painter - but not for long. Paint literally sticks to the surface despite gravity, yet it is the imperfect DNA of Art. Painting, like Art is 96.8% blood ,sweat, and ape, specifically Chimpanzee. But evolution, like arguments for God, has transformed our simian evolutionary instructions, even to a fault. We've had to rack our collective brains to diminish our human capabilities and our human dominance by creating Artificial Intelligence, leaving ink or Paint as tattoo's on our human outer layer. Of course then, on one level Painting is seen as a Renaissance relic of rules and limitations, a confinement of space or a prison. Yet it is this very human confinement that there exists the likelihood of an explosion of possibilities to break out of this self-imposed human red-brick prison of the human mind, because of the precedent of human need to break codes that ensnare or oppress. It is just as human as man's self-destructive characteristics to create a new vision. Moreover, there is a interpretation of the Big Bang in Physics that thinks that a Big Crunch' will reverse the direction from the Big Bang and therefore render the universe that we know entirely different. As a parallel to Painting, is it possible that other media could revert to the primary position of Painting as the organizer and interpreter of a dawning of a quantum leap in human experience. I believe that Painting can transform a restricted confinement of understanding of life to an intense fireball of imagination because it is also in the DNA of Art. To obstruct a true original development by trying to sanitize it as 'retro', and therefore socially acceptable is the oldest profession in the world. But Painting is the muck and grime, the guts of human failure and imperfection, not the fake attempts at a self-transformation that relies on social conduct that breaks the rules in an 'acceptable way.'

The human mind is largely untapped potential that we can not grasp , but it is also trapped potential that will evolve into and out of human limitations. It is the medium of Painting that is destined to explore, antagonize and rip at the block and impediment that both fuels human folly and and solves its own human imperfections. This is one possible trajectory, and also makes Art central to understanding ourselves, and also redeems humanities defections as expressible in and through Art. This is not some Luddite spite stigmatizing those who create by different and maybe more fashionable media, but a valuable pursuit to understand human potential.

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