MANIFESTO SOMETHING SAD IS ABOUT TO HAPPEN
Extension #1 on the muralist’s technique
- A burning crystal should be kept in your kit- one made from the lenses you have aquired through the reading of the Crystal Brilliance Manifesto. Use this as a microcosm- a focusing device to envision and make concrete your vision of an Estrada-Courts-like geode; one where image busting imagery exists on every plane in terrifying abundance and where the mural surface is transformed into a black, smoking and vomiting mirror
- Bring with you the following materials:
- a package to be opened on site containing the product of the following sublime construction materials: digested photos, dead twin of the smoke in your lungs two nights before, ear of the street, the feeling that you have as you muster the strength to absolutely burrow into the concrete with your face, the knife you used to slice the surface of the urban lake looking for eels
- 1000 brushes, best separated into groups of 25. Include no flats and about 25% large filberts and 75% rounds of all sizes. Avoid rollers
- some sort of demarcation device for laying out your preliminary grid, the best being a large glass bottle of wine that will be wildly hurled at the blank wall while leaping in the air.
Your ultimate goal in this is to be able to peel the wall from its substrate, pass it through your membrane and reduce it to a putrefied static lump, which can be burnt like a cone of hellish, monstrous incense, the cone being used as a brush of sorts to waft smoke over the newly exposed wall, thus creating an image on the wall of its reduced self, the mural dedicated to the twin and double image, composed entirely of the most ephemeral core of its own amplified essence.