The crime,
or the area
amongst
televisions,
serves as the central core
where content surfaces.
The wild or the vacancy
amidst barricades, acts
as the peripheral pivot
where substance conceals.
The vibrant
hues in the connection
between the structure
and the soil
sculpt a dynamically
dancing visual vastness
around the bar.
The dreary tones
in the disjunction
between the figure
and the ground
dissolve a languid
lifeless visual vista
around the bar.
In Len Lye's Blue/Red,
this effect emerges eagerly,
with the blend
of navy and scarlet
soothing pulsations.
While Buddha's progress
is slow, reflected
in its lazy painting
process and ample
layers assembled
over decades,
reaching a plush
and vibrant tale.
This phenomenon unfolds languidly,
with the clash of cobalt
and crimson creating commotions,
while Buddha's standstill
is sudden,
countered in
its swift painting
process and sparse layers
dismantled over epochs,
dwindling
in a
modest
and
mundane
narrative.