i like how "black bolt" upper L 1st panel draws attention & "maximus" kinda brings an association w/ AmAbEx (mostly Motherwell), but Kline taught at Black Mountain College & Charles Olson figured prominently there too, Maximus being Olson's "masterwork" -- the 4 lines of text in that upper L corner create a setting, specific place, a central concern of Olson's longpoem, "to grow, to spread" echoes inna almost eldritch manner the Olsonian technique of "open field".
what is this Thing & what are we s'pposed to do withit?!?!?
bloody blamed hell!
of interest as well, to me, is how the broad brushwork cohabits w/ the source images, like a skeletal echo, like how they break down the classical painters in terms of composition y'know? kinda like how in certain Pollock paintings, if you transpose Thomas H. Benton's anatomical drawing exercises you can see those forms, abstracted, but yet underlying to give a strong structure...
i just love that first panel, the debris, how the broadblack lines are both an addition & a subtraction -- the addition adds to new focal points & somehow add bolts of action which perfectly frame the action in the panel -- the subtraction, the erasure, the coverup, seems to add a certain depth...hmmm, i'm going on too long & now i'm hung up & can't think of what to say about the subtraction... = )
this is cool.
ReplyDeletei like how "black bolt" upper L
1st panel draws attention & "maximus"
kinda brings an association w/ AmAbEx
(mostly Motherwell), but Kline taught
at Black Mountain College & Charles
Olson figured prominently there too,
Maximus being Olson's "masterwork" --
the 4 lines of text in that upper L
corner create a setting, specific place,
a central concern of Olson's longpoem,
"to grow, to spread" echoes inna almost
eldritch manner the Olsonian technique
of "open field".
what is this Thing & what are we
s'pposed to do withit?!?!?
bloody blamed hell!
of interest as well, to me, is how the
broad brushwork cohabits w/ the source
images, like a skeletal echo, like how
they break down the classical painters
in terms of composition y'know? kinda
like how in certain Pollock paintings,
if you transpose Thomas H. Benton's
anatomical drawing exercises you can
see those forms, abstracted, but yet
underlying to give a strong structure...
i just love that first panel, the debris,
how the broadblack lines are both an addition
& a subtraction -- the addition adds to new
focal points & somehow add bolts of action
which perfectly frame the action in the panel
-- the subtraction, the erasure, the coverup,
seems to add a certain depth...hmmm, i'm going
on too long & now i'm hung up & can't think
of what to say about the subtraction...
= )
anyways, it just looks cool!
yeah - this is great. Kirby's futuristic Mayan aesthetic totally jives with the Kline-y, brushy kanji.
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