From Ilya Repin’s paintings in the 1800’s to what our descendants might make of our lives in hundreds of years: the black box and the unknown. Expectations, moments, questions, sketches, input, output, what happens in the process? The procession can’t be witnessed. Kahlil Gibran “On Children,” and how the present cannot decide the future. Who were the secondary English teachers of the 1700’s? Perhaps the intellectualizing was in the everyday ways of being in various professions. The black box of the past and the future. How storytelling can cultivate awareness of self.

Costumes, cosplay, derivative imaginative experiences. When does a costume become real? Is a persona a mask? Can it become real? The pathway on the stage becomes real when the audience walks through it. How fiction can vibrate to the frequency of real. The audience decides that this is an enactment experience. We put on the costume and align with another form of being self. Synesthesia and the experience of becoming; self to character. Not necessarily synthesis. Derivative imaginative play. Solidly not real. Beyond the cover of the song. The notion of the influence. Costumes as a scaffolding technique of becoming as a creative.

The public good, the fallout shelter, we’re having an assembly today. The wonderful ruckus of it all. Thrown together, pieced together, stitches and seams all showing. From Victory Gardens to Patrick Henry, to Giuseppe Pitrè and Guiseppe Arcimboldo; from Great Wave immigrants to rainy day assemblies. Furnari Sicily, tailors, weaving, and the tapstries of meaning in story construction: storytelling as contextual. A story means what we convey it to mean.

When do the measures of the universe meet in a tight corner? Is the universe of artistic conveyance large enough to embody contrasting notions of validity? Considering Whitman’s “When I Heard the Learn’d Astronomer.” Reaching to the ends of a natural ethic from Robert Burns’s “To a Mouse.” Are we reaching to the stars or to the earth right in front of our feet with our artistry? The universe of referentiality from the still life to the landscape. Considering Helen Frankenthaler and Clara Peeters. Considerations of my own works including symphonies in the sink and people of the fork. This is a consideration of the layers of referentiality in the workflow of creating art. Considerations of photography, using Procreate, and how photography and digital tools become part of painting workflow.

Why were there so many toy guns when we were kids? At what point does a work of art become a form? When does an artist create a kind of phraseology that other artists build on, play with, and speak into? When we’re in the world of pretend, is there an ethic for consumption? Why do authors or artists choose to portray the horrific? And how do they choose to portray it? What is realism? Is it the way the artist plays on the very real yet hidden contexts that we are walking through life perceiving with? Works referenced and considered: Roland Barthes’ “Mythologies; The Odyssey; Artemisia Gentileschi – "Judith Beheading Holofernes"; Francisco Goya – "The Third of May 1808"; Édouard Manet – "The Execution of Emperor Maximilian"; Yue Minjun – "Execution"; Shakespeare’s Macbeth

In this pilot episode, the foundation of the notion of “An Infinite Language” is explored. From the process of painterly seeing to Ozymandias and the enduring voice of the arts and the artist.
Some highlights:
Can you paint with words?
The artistic voice is more enduring than absolute power. 
The everyday person has the power to tell, to convey and sculpt our notions of what happened.
What voice carries on?
Creative output is an infinite language, it cannot be relegated to, cannot be limited to solving the world’s problems. Art is not a for-hire form of expression that is only used for problem solving.
What is the contrast between Ozymandias and the message in Emma Lazarus's poem on the Statue of Liberty? "The New Colossus" is a message of hope, a claim that the way of lifting up is the golden door. Other works discussed: Guernica by Picasso, David's the Coronation of Napoleon