The Subreption of A Chess-Player Gone Mad, 1 1/2
Image by DerrickT
After bending the circle and full-well realizing that I knew I was going to do a few more of these images, I decided that perhaps there should be a level of underestimated "tension" that should be visualized as I had originally thought. After producing a few other images in the same relation, of which I didn’t particularly enjoy, I found this one to be more interesting. It often seems as though during the progress of creating something from a previous idea, whether it had been an idea a few days prior, months, or even years before, the progress takes a swing and will gradually veer off into another direction, whereas when completely improvising, there seems to be a ‘wheel of fortune’-like binder — one that continues to open, clipping the paper in, to then unopen and release the paper from its strangle — where an introduction of wide-lensed recognition becomes relatively expanded versus that of the compressed idea that had been circling the mindscape for a few days, or whenever. I am, however, not stating that I am completely oblivious within the containment of such expressions, but I’ve found (with photography as well as with creating anything) that the plane of expression becomes xerophytic in the sense that what is in the mind is literally ‘wanting’ to be released. There’s a particular "hight" that diametricalizes each splinter, or goove-cut which places me in the mind-frame (before even photographing any ideas) of how I would want the viewer to ‘see’ it, so that perhaps they are able to ‘feel’ something, whether in clusters or bunches (or even smaller, it doesn’t matter, as long as it is something), or whether it is sympathy, comedy, fear, or an accumulation of deeply-rooted ramages. Perhaps this is one reason why I like to consider myself a "Pinecone", because a Pinecone can be the ‘ramus’ of an array of emotions for "others" to visualize.
The image here, which is the second and last image of this, I won’t say "set" because it’s only two photographs and I don’t really like to consider two photographs as being a ‘set’ although they are technically, if anything a "pair", is an image where, after having my initial idea grow and progress, like when getting to know someone in a personal relationship, became a more experimental ‘conception’ as time had passed, and was the rationalism of not only the repellent of something that nature/mankind often possesses, because of fear or what essentially becomes our emotional ‘state’ after realizing "why" we are acting like that, which often stems from what we think in our minds, which creates such a reaction towards what we expect, but also the logic that is usually behind it. One sees a dead fly. One may not react as ‘sadly’ as if it were their pet dog, fish, cat, etc.
It may be a lousy example, but "chess" here is very much a part of this image, but what lies beneath the conceptuality, is an even more redivivus curvature to think upon…