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  • I'm really excited about making art this week, about making art right now. It's weird, looking at progress in the moment versus progress after it is all done. With that in mind, worrying over something being "good" is the worst thing you can do, counterintuitive as it is. Make it, learn from it, take the experience and move on to make something new. I think I can see my goal on the horizon, and it is the most excitement I have felt in my whole life. Anyways, happy Monday.
    This past week I've considered why I am making art, and if art pales in comparison to experience. Yesterday, the auburn glow of the sunset across the pines was beautiful in a wholly overwhelming manner. Would it be possible to ever convey or recreate that, do I even want to, or should I work to make something completely new? I want to rethink my attraction to beauty, writing, and stories.
    shinobu
    shinobu
    Art and reality are about different kinds of beauty. When you see clouds or the caustics formed by the sun's reflection on a pool or sunlight going through a slightly yellow window in an old house illuminating a sea of dust in the air, that's the beauty of reality that feels unmatched.
    Art is more about distilling something in your mind, an amalgam of your interests and your skills to make a special kind of beauty that is about the lens under which you see the world.
    For example, through the use of simplification and abstraction, you can mold reality to your tastes, or take inspiration from it. Art lets you make something unreal, something that departs from reality, or that doesn't need reality to exist. It's also cheaper than finding that beauty in reality - a sculpture of a person is far cheaper than nurturing that person, and you can paint or draw a house without having to built it in the real world. In that sense, you can say that art is a prototype of reality, or that reality is reified art.
    Been working on edits, this one turned out well ...
    Ahead of them, glowing like the dull throb of an alien spaceship from some 50's B-movie, there sat between one house and another the blinding lights of a 7/11 corner store. To its left ran a field that disappeared into the darkness, taking with it all traces of the looming power lines that cut cleanly through the suburb. Only the droning hum remained, smothering beneath it the noises of whatever hid within the dry, yellow grass.
    At the base of the structure was a faux stone veneer that gave way to full, thin windows smeared with bug guts, grime, and tarry dust. It was here, and rotting on the ground alongside cigarette butts and push-pop carcasses, that an innumerable host of sun-bleached posters had been plastered without care. The closest copy, stretched thinly across the gaunt, flickering face of a shattered ATM, urged onlookers to take advantage of a two for one deal on reheated pizzas and watered-down soda pop.
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