Artobiography – the self-exposed.
Personal revelation on display:
persuasions, curiosities disclosed;
individual leanings that swing and sway.
Privacy – an open exhibition.
Voyeurs at large, a see-through medium,
en masse titillation; imposition;
pastiche motif; pretensions on parade.
A synthetic construct, superficial,
skin-deep patina, costume masquerade;
disguised reality – artificial.
. What of art that it adores expression,
. and yet, so crudely ignores discretion?
© Tim Grace, 31 March 2013
To the reader: Exhibitionism or exhibitionist – an empty distinction. The expose of self as art. The narcissist, an introspective voyeur on public display. Made naked for self-amusement. Inside-outside. Flesh-coloured drapes on see-through windows. Shock therapist using auto-simulation as creative medium; seminal concept becomes revelation. Artobiography – a crude craft on revealing canvas.
To the poet: Inspiration for this sonnet was a documentary on avant-garde art. The various vignettes portrayed a series of self-absorbed indulgences. Confusion over purpose was laid bear. A naked clambering for notoriety; easily achieved through public shock. Nothing more than a sideshow curiosity laying claim to creative space. As a writer, I can appeal to a reader’s instinct for novelty… the forbidden and perverse are easy grabs.
To all things my interest cannot attend.
I am responsive to movement, colours
and the scent of life; all things so contend
for my attention; distinct of others.
One thing for the moment will steal my gaze.
I take note of that which sways and swishes.
That which has rhythm to my interest plays,
so becomes the pick of many wishes.
I’m partial to soft tones that glow; that blush
the dull canvas with a rose-coloured tint.
I’m partial to that which is full and lush;
that which brings love to life with perfumed hint.
. I cannot attend to all things in sight;
. instead, I seek what gives my eyes delight.
© Tim Grace, 24 January 2013
To the reader: Programmed to attend to life’s rhythm; we literally seek and appreciate animation. Some movements have particular powers of attraction. The effortless ‘sway and swish’ of a wiggling-walk makes alluring theatre. The long-stride of confidence without pretence or contrivance draws attention. The nonchalant amble of a carefree character entertains our imagination. Powers of observation energise our interest; sharpen our focus.
To the poet: Infatuation lacks restraint. To ogle is obsessive. Admiration construes a connection. Polite interest requires distance, it respects the dignity of a shared space; eye-contact is confirmed not consumated. From a poet’s vantage point there’s a code of practice that applies to people watching. As subjects of interest ‘the observed’ will tolerate a casual glance; not so an intrusive gaze.