The artist's obsessive use & efforts are repeated in the language of the second poem, Barry; it works as lyric research on your part.
Doug
On 2011-01-12, at 12:15 PM, Barry Alpert wrote:
> RICHARD SIEGMAN PAINTING
>
>
> I drop trowel and sprint over to . . .
> Gorgeous! The color is more Washington School.
> Dries fast. Mention how thick.
> I drop trowel and guard color.
> Peruse already displayed serration.
> Save markings.
> Full finish shall inside stripe.
> Modular circles show you the most.
> Chance/slice each.
>
>
>
> RICHARD SIEGMAN PAINTING
>
>
> Trowel the positive material.
> Save markings.
> Full finish shall inside stripe.
>
> Peruse already displayed serration.
> Upswing valance with serpents serrated.
> A circle serially serrated.
> Serrate chance. Slice each copy.
> Trowel trousers. No chance.
>
> Trounce trowel-led troweler.
> Traffic stripes shall be loosened /
> modular circles show you the most.
>
> Full finish shall inside stripe.
> Save markings.
> Trowel the positive material.
>
>
> Barry Alpert / Silver Spring MD US / 1-12-11 (2:13 PM)
>
> While retrieving the first text (posted here years ago) because a show of new work by the artist opens this Friday, another poem on the same page surprised me by its very existence. Counting 14 lines, I knew that I had tried to "finish" this poem with the title "Out-takes", and that its source had initially been generated via a modulated flarf engine. While reading it a few times, I knew it needed revision. That turned out to be not as difficult a process as presented by the cine-poem via Straub/Huillet I had been working on for 22 days, and then I went ahead and finished the cine-poem. You may be able to view examples of Richard Siegman's paintings by visiting the facebook page for him and his gallery PASS at:
>
> http://www.facebook.com/Pass.Gallery.DC?ref=ts
>
Douglas Barbour
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