new to archive....range continues to reveal 'a mind at work' and bolder, more vibrant works may recruit greater interest in handling the work. Continuing to confront the challenge of a painting on six sides, and meaningful original form/content.

Important part of experience is viewer's handling of piece: desire to handle it, interest in exploring it once in hand, sense-feelings including any of 'violation,' messing-with, interference with as hand covers image, intimacy/contact with artist, pleasure.

I am struggling with how much to refine images. Should I 'prettify' them, make them sexy and more attractive? Is this an urge related to recruiting viewer's interest, or too much worry about quality of work and living up to others, doubt about primitive or crude quality of drawings (as this is increasingly evident and perhaps even getting worse, ironically, as I find myself more psychically involved with the work)? It is very hard to appreciate the experience of the whole archive as it grows, and become obsessed with one image to the exclusion of how it works with the whole. Yet it must accomplish both somehow. This has become more clear with today's images, quite distinct and I see that they must be if there is to be any chance of reflecting emerging but fragmentary and momentary interior material.

More blocks (front and back), experimenting with drawing, unpainted blocks, better integration of edges with face as if one image. Photograph included with one of the letters (above).  Letters in progress...

I am interested in whether people can entertain something of some depth from their own minds in relationship to another person's mind, in the sense of one's mind being free to dream, to remember things, fantasize, imagine- whether there is a place for confusing, fragmented, odd, absurd, crazy bits of our unconsciousness that is a kind of creative/constructive revelry between two people (Thomas Ogden) (if possible anymore in the 2014 media age). I also want to feel less alone, and less alone with my art and have hope in the ability of others to help me make sense of experience/my art, etc. which is what we do with all experience (ideally) (Bion, Winnicott). Have a few postcards back from friends. Positive interest in the categories, and the idea of an art piece evolving from it. One friend, unprompted, suggested that the creative dimension felt more intimate and meaningful to her than ordinary discourse.

a1616 Shakespeare Hamlet (1623) iii. ii. 67 Blest are those, Whose Blood and Iudgement are so well co-mingled [1604 comedled].
 

Making new images on .75 wood stock. Experimenting with materials. Trying to make sense of the six sides, and process.

Enormous gap between my rational or thinking consciousness and other modes of consciousness stimulating images. I would like to understand this better.