Even as the center holds,
of mirrored identity,
shedding more than was known.
Enchanted by fragmentation
I’m reluctant to leave
this sweet and bitter place
where honeyed magics
wing through space,
and flesh, and dreams.
Waiting becomes me.
I paint the walls with lightning.
Fragmented by enchantment,
a cellular accommodation
reforms my reformation
in a dance of Buddha love,
an attitude of slow turning
across the wavering tiles,
where I shape and shape again
the slow dissolve
of the waiting room I was.
photo collage and poem by clinock
Sculpture: Trucker, by Clinock. H. 8″ x W. 3″ x D. 6″. Fired and stained clay / collaged toy truck.
In case I disappear this is a map of my heart,
(should you care that is to seek my whereabouts)
a patched up job, repeatedly reassembled,
it beats to the rhythm of a thousand suns,
stronger than a life is long.
Please do not fold, spindle or mutilate.
Notice how the blue of fallen sky becomes a sea
where angels and mermaids dance in arcs of light.
I rest on these beaches when I lose myself,
cool my body in the waves and drift away.
This is the path back home.
This is the country where I find myself again.
Map of My Heart. 23 x 17″ (varies). Acrylic on torn and glued papers, by clinock
poem by clinock
edited redux 2014
mixed media collage by clinock
thanks to youtube for movie clip
Video thanks to You Tube / Photo of Jack Kerouac thanks to Google Images
Mixed media art by clinock.
Extract from VAG’s write up on Jacques Villegle:
“The idea was really to take what was out there in the street and basically just select a section of it and frame it. All the work was really done by someone else, time passing, or the weather.”
“In the 1930s, the poster was called the “journal (newspaper) of the street,” something that really reflected society. And what I think I realized at the time was that the posters, as an art form, were always going to evolve and so there would always be something new to explore. In the 1950s for example, photography was not used in posters, it was still drawings.”
A keen observer of urban art and society, each of his works bears the name of the street where the poster was collected. For Villeglé the posters are as much witnesses as they are actors in their environment, and while he makes the choice of framing the final image, he is completely absent from the actual execution of the works, which have been created by an anonymous collective, which is why he describes his ripped posters as “lacères anonymes.”
Credits: All images, except the first and last, and all descriptors were photographed at the Vancouver Art Gallery (VAG) by clinock. Thanks to the VAG.
The first and last images thanks to Google Images.
Villegle quotes in italics and final write-up on the artist thanks to http://www.blouinartinfo.com