The general context of this piece* involves biochemical manipulation, impending depression, and wind-tunnel vacuums happening in the artist's life, with sheer artistic determination motivating expression. A great amount of focus may have helped the creation, possibly at the expense of a greater enjoyment of the Great Gyoza Gathering at the Osseus Mansion. The context of the drawing itself involves a vast open expanse with empty skies and scraps of modern carpentry. A single, lone-standing wall-interior witnesses the human-machine drama unfold within an apathetic, homogenous neighborhood environment. In color, a graduated trace-blue void would attenuate the subtle, concrete meat hues of the passing omen, thereby logarithmically decelerating its expansion to crystallization of motion and form simultaneously. These two levels of context share parallel causation.

* The art appearing with the original article is a unified version of the four panels featured below >>

 The elements present themselves symmetrically while mutually encompassing microcosms of one another. In this fashion, although physically unrelated, the objects share causative patterns, with the fleshy rainbow menace suggesting the meaty essence of the torn ventral surface and removed spinal column. Likewise, the mirrored wall interior precludes the stacked planes of the generalized storefront landscape. Meanwhile, human involvement in bizarre technologies require the effort and concentration of a muscular bald man who, even during the barbaric removal of his own spine, remains strictly focused and intent on successfully manipulating the bound contraption. Further, the worldly puppeteer smiles with understanding while graciously and eloquently maneuvering both internal and external aspects of the apprentice's anatomy. A third arm extending from the ventral shoulder grips some skin cloth with disinterest.

 A broadly defined triangular symmetry parameterizes the compositional proportions, which indicate a harmony among spatially related yet distinct features. Such balance manifests aesthetically through parallel displays of detail, contrast, and texture. Ripped human musculature emulates well the vertically ventilated vacuum, which in turn directly reflects the pattern of rectangular windows and doors vanishing along the horizon. Likewise, the intricately folded flesh and razor dentistry motifs of the cascading threat implicate the human figures through common texture and form. Further, the relative lack of continuity between the cold geometry of architecture and the surging, grinding organica of the atmospheric warning compared to that between the previously discussed elements implies the human condition as the causative center from which both biological and anthropological developments evolve.

 The symbolic nature of the work functions to suggest the intimacy between environmentally related factors. Cold, empty structures invite absent inhabitants as impending doom exasperates itself in a final frenzy of consumption and expansion, only to be effectively neutralized against clear horizons. The situational drama, as mentioned, focuses on the contrasting characters engaged in temporal activity. The confidence of the manipulator symbolizes the faith that an otherwise suicidal person requires to sustain a basic drive to survive during periods of unfortunate, unresolved misfortune. This point is exaggerated in the spine dissection, which figuratively represents a reliance not on self, but on superior sources. Such submission results ultimately in the perseverance necessary for everyday life. I have symbolized this with hands disappearing within the mysterious machine, as well as with the carefully guided window washing.

Featured art{work}: Hoover Business, Mixed Media, 8.5'' x 11'' -- © 2002 Perishable

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