(reworking
of a prose poem of a year ago)
.
.
What we see here is something for which a reasonable observation can be made that a sufficient massing of graffiti which began as what was almost certainly first regarded as vandalism has over years amassed such a density of beguiling effects that it becomes not only pleasing as decoration but gratifying in the way art gratifies – by conveying through its massed implications something of the poetic suggestion whereby we identify art, a condition with which this very sentence has striven over this moment of "now" you are watching it unfold, to pack and unpack its contents with what its writer hopes reflects at least some of the same tumbling grace that seems randomly to have helped transmute the graffiti into its current exalted aesthetic state, thereby to demonstrate and reveal, as if reenacting the stages of it before our very eyes, an evolving identity, kindred to the transformation of graffiti in these images, which find their corollary in this sentence which celebrates them, which may be showing itself to be submitting to not dissimilar vagaries of unlooked-for influence, effectively dismantling the fences barring its way to the condition of art by slowly accruing its own inimitable density of effect; and indeed on the strength of which it shall henceforth now, it thinks not without having made a persuasive case for it, demonstrably claim that same exalted aesthetic status for itself – daring to suspect it will be readily identified as such by any acutely observant critic who has watched it form into lyric flow while at the same time evince a strict adherence to the bone-laws of grammar, syntax and diction, to produce this last confession of purpose and method and hope (venturing to call itself certainty) with which it now signals an imminent end to its discourse to await the award in the form of what it imagines will have to be at least the equivalent of a pretty little gold medal featuring the holy word itself – to lie bare on its verbally hirsute chest - rawly yet delicately scratched onto the surface as the most winning graffiti frequently is as it commences its radiant journey to affect and inspire the unsuspecting eye to focus on the calligraphic stirrings which some absent hand has caused to appear on an inauspicious wall-cum-canvas whose destiny it would be to awaken on a larger and larger scale yet more passing events of sentience and curiosity we register as instances of the engaged human imagination as it conjures in its inimitable ways for itself what ultimately and inescapably transforms into an incontrovertible assessment of the slowly enriching conundrum and delight and perplexity we know singly and collectively as ART and will, from this point on, eventually accomplish its eternally ongoing mi[ssion....]
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What we see here is something for which a reasonable observation can be made that a sufficient massing of graffiti which began as what was almost certainly first regarded as vandalism has over years amassed such a density of beguiling effects that it becomes not only pleasing as decoration but gratifying in the way art gratifies – by conveying through its massed implications something of the poetic suggestion whereby we identify art, a condition with which this very sentence has striven over this moment of "now" you are watching it unfold, to pack and unpack its contents with what its writer hopes reflects at least some of the same tumbling grace that seems randomly to have helped transmute the graffiti into its current exalted aesthetic state, thereby to demonstrate and reveal, as if reenacting the stages of it before our very eyes, an evolving identity, kindred to the transformation of graffiti in these images, which find their corollary in this sentence which celebrates them, which may be showing itself to be submitting to not dissimilar vagaries of unlooked-for influence, effectively dismantling the fences barring its way to the condition of art by slowly accruing its own inimitable density of effect; and indeed on the strength of which it shall henceforth now, it thinks not without having made a persuasive case for it, demonstrably claim that same exalted aesthetic status for itself – daring to suspect it will be readily identified as such by any acutely observant critic who has watched it form into lyric flow while at the same time evince a strict adherence to the bone-laws of grammar, syntax and diction, to produce this last confession of purpose and method and hope (venturing to call itself certainty) with which it now signals an imminent end to its discourse to await the award in the form of what it imagines will have to be at least the equivalent of a pretty little gold medal featuring the holy word itself – to lie bare on its verbally hirsute chest - rawly yet delicately scratched onto the surface as the most winning graffiti frequently is as it commences its radiant journey to affect and inspire the unsuspecting eye to focus on the calligraphic stirrings which some absent hand has caused to appear on an inauspicious wall-cum-canvas whose destiny it would be to awaken on a larger and larger scale yet more passing events of sentience and curiosity we register as instances of the engaged human imagination as it conjures in its inimitable ways for itself what ultimately and inescapably transforms into an incontrovertible assessment of the slowly enriching conundrum and delight and perplexity we know singly and collectively as ART and will, from this point on, eventually accomplish its eternally ongoing mi[ssion....]
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