the art of kEith ::: 'E' on everything

‘ART 2006’ , graphic art on poster board

“the art of kEith ::: light revolution 7”

(c) 2011

implemented 2006-2007. concocted with a hodgepodge of inspired energy. reaching for the illusive “promised land”, the ethereal, the eternal knowing, that was a big part of my 2006 creative leap.

depicting it is, on one level folly … hence the ruminating self-portrait. rumination into torture is not fun, useful maybe, but not fun. I’ve seemed to come out of this phase.

these days many people are taking creative leaps, longing to find their way through expression. but several years ago, it wasn’t in vogue. and ultimately, this whole idea of spirituality is something that was also not in vogue.

For me, the bottom line is. I know this source … some people spend years on a mountain top, or take a bunch of courses, or meditate all day long. for me i just know this place, and so here, in this piece, i tried to express it … the new city phase, the phase of the longing for the eternal dwelling … folly still

This http://keithkimmel.net/word/?p=84 explained.

notes on young love scared. now memory and shadow. on this thing that can’t be stopped–

somebody said poetry was dead.

oh chronicled honey suckle. and Cheney whipping fools. this angry dilemma is enough to call the cow home. be gone foolish nymph . . . and lucky child. hello dolly and Franken DIAL ….

originally drafted in 2008 the three dominant themes include my own lamentation over a lost love, American political strife, and artistic torment. The young love scared refers to my lost fiance. It also represents myself a young poet-artist fearful. the thing that can’t be stopped is my life and destiny. chronicled is a loose reference to the Rocky Mountain Chronicle, a short-lived independent weekly in Fort Collins, Colorado USA whose origins stem from the Rocky Mountain Bullhorn a longer-lived but also defunct independent weekly of which I wrote the first article and art-directed the first several issues. Fort Collins is where I spent most of the first decade of the 21st century. It also where my fiance lived. She was studying at the Colorado State University when I met her in the Everglades, Florida on 12.31.1999 around 7pm or there abouts …

Cheney obviously represents the Dick variety, u.s. vp (2000-2008). further this symbolizes the Republican Party of this time. the whipping reference tackles the overwhelming disillusionment myself and many creative peers endured during this reign– “a shift in time” that has forever (in my opinion) dismantled the humanity movement nurtured by the last half of the 20th century. the angry dilemma then refers to the black and white variety of thinking that was pervasive in this time, specifically politically. it too was pervasive in my own conscious as a member of the society at large. essentially this black and white thinking is weak and simple and limiting and desperate. it simply is a safe way to navigate being a human, it compartmentalizes, and limits expansion of life. even a dog knows (he doesn’t know) so much more for a man.

The foolish nymph perhaps refers to my lost love. but too it is referencing the self and the foolish muse of insecurity–beliefs, learned by my well-meaning family or other “teachers”. these are the panicked voices suggesting to stay within the bounds.

Lucky child is in reference to Gambling. A mentality that I was involved with in a very non-literal sense. essentially the period between 2006-2009 found me quite experimental and beyond healthy reason or choice. i’m not ready to divulge the nuance of this. sex, drugs, and rock and roll might safely describe this behavior, but very much not in the traditional absurd sense that such behavior presents itself in the popular culture. Suffice to say the bigger allusion concerns my step-father and the gambling (non-literal) habits he was raised in. Essentially these influences played themselves out during this time. This “lucky child” offers many psycho-analytical, sub conscious dynamics that will be further explored.

Hello Dolly refers to cloning, broadway, and a forecasting of another (girl) muse that was/is in my life now. (she being an admirer of country singer dolly parton. though this was written before I met her.) Broadway here means New York City and the longing for it’s humanistic revival, the artwork I produce to find its home there etc. Cloning suggests influencing others with my art, be it word, or image, or music. essentially cloning people into the awareness so acute to my being and so essential for the development of human life.

Franken DIAL This alludes to Al Franken a symbol for US Liberalism which peaked in the late 20th century and on many levels needed a cleansing. (Dial Soap) The humanities movement lost a bit of soul when it became dominated by sexuality or vulgarism or perhaps a loose interpretation of pleasure etc. There is a correction then, that my art, rooted deeply by late 20th century humanist influence, attempts to engender; a plucking of weeds, if you will.

this article is still in draft mode.

Racing on a one lane highway.

Grateful Dead be boppin for the 900th time. Brent Mydland, keyboards black and white. Heading east to April’s; the road winding like a rat tale. I should be driving slower. Driving so reckless? She wore black and white; the big ole mama with Appalachian blue eyes.

Allie (like ali but different), she would never be it; she would never be what she could be. These fat ones, like planets, there’s no staying away; affecting everything around them, every action reaction … i’ll make her feel special …

The curves on this road, they’re not holding up. they be Vibrating like some magic carpet.
The last thought of Allie was the one that dragged the black and blue civic right off the road …

There’s a cabin and a river and i’ve dam near landed in a misty mossy paradise. but the civic is broken …

and I’m here in fairy land, green voluptuous Goldy always on my mind. she represents everything I’ve every lusted for and loved in a woman/girl.

and it’s here’s where the story begins for mr. dandelion. on account of the accident.