‘Be clear!  Be clear!’ are the instructions.  I know it means stay in the present, to be clear.  I shift back and forth on my haunches, what do I know.  the work waits for my hands, it is beckoning to me like a blue note, like the bridge in a long Peter Gabriel song.

To suggest ways of seeing, to suggest the malleability of ways of seeing, the moveable, changeable, creatable nature of seeing.  Play with the way you see.  (that’s step 1)

now … what is the obvious?

Paul Simon is clear, he’s specific, story telling from the crumbs on the table up the wallpaper to the regrets and rolling sky out the window all the way to the celestial place true fortunes come from.  And you can’t get more obvious than the specific.  On account of it’s already specified.

‘does this mean,’ I place my hand on the large crystal ball hesitantly, ‘that I should make somethings with the work?’ I can’t believe I have to ask, like, which one is Pink, because I know I should totally know, but I don’t. The work says things to me, but, really, do I reveal its confidence?  The crystal ball tells me to make the work some eyes, and look into them, to see if that’s what it wants.  This is work about optics, and the way light goes through whirling vortexes.

Rickie Lee Jones’ specifics are my permission.   You can’t even see how far that woman can kick ass.

‘Specifics in writing yes of course no duh, but I am on the visual art now.’ In the dark, I feel the air around me bend and tighten when the gods smirk.

What is it, then, to be specific with the matrix work?  ? .

I think about asking more questions to the crystal ball.

What is obvious?