Pinching and Biting

Pardon the assemblage of notes/somewhat scattered thought here, but I seem to be running on and on, with no appreciable continuity in sight.

My work (painting) seems to be solidifying-that is, in terms of looking unified. Spose I come to this conclusion as I'm about to haul a bunch of it off to the photographers' to be shot...am I ready to commit this stuff to "film"? Probably not, but let's bwe bold and brash-there's always plenty of time for regrets later!

What the act of (sucessful) painting can bring about is a vista at once suggestive of reality-the hard and true-and intersperse it with mystery-that that is half-known or veiled. Isn't this what (good) fiction gives us? Mystery: the adventure, the unknown. Maybe when I learn to paint, I will also have a clue as what and how to write. Following a metaphor here, I find that I use erasure in my painting often. Although I don't know how to paint a partial something, it is easy enough to paint (or at least suggest) it completely and then erase it.

I can only define my experience while painting as trancelike-more akin to a semi-conscious state than not. Turning some channels off and pushing others quite hard, my eyes and hands hold a dialogue as I paint. Since I "stumble and fall" frequently when painting (which can be good, which can be bad), maybe I should consider painting with a list or drawing-a map, which could be vague yet informative.

Decided to photograph Rhonda, before too much time passes. I'm not a great fan of snapshots, but since I'd miss not having these shots, I made a few snaps of her, the dog that is velcroed to me.