Road to Sukhavati

John Brzostoski
© 1968

This is about art: about all art. There are no distinctions to be made about fine and/or applied. Eastern or Western. If these words seem to pose as some sort of definitive statement, the reader should stop reading. Absolute, conclusive and infinite delineations are too limiting, too finite and not funny-real enough.

Any body knows, has known, should know, will know, that the limits of art, are not the exterior limits of the art object edge (sculpture), or surface (painting), or territorial space (as in dance). There is a larger continuity of each in the symbiotic gestalt that includes, first: the artist-creator (Yang), second: the perceiver-creator (Yin). A view with a mental frame is extremely important to understand first: one — these words, second: two — the pregnant meaning of artistic endeavors. Aside from blah-blah about creativity, there is the element of joy-bliss-ecstasy. These are such poor words. Aesthetics certainly is no substitute. Let us go to the Sanskrit and use a semi-equivalent to the above, with realization and anti-suffering tossed in for conceptual fleshing out. Our borrowed word is Sukha (joy-bliss-ecstasy). Art is about getting to the place of Sukha, i.e. Sukhavati. The more explanation of this or that is never sufficient. So away therefore with this and that, finite mis-understanding and mis-education. Mis-perception and mis-existence goes with them. Oh? Not yet? Sometimes it is easier done than said.

As any school boy or school girl knows, art always seems better when you are holding someone else’s hand when you are looking at it. (Art in all these sentences is automatically to be understood as GREAT art, even if this is considered redundant. Some consider GREAT art as therapy, others as a chromosome of nobility.) The other hand makes great ART as much as the artist. The outer edge of the art-work-environmental-territorial includes that hand space (entire body, buttons, change in pockets). The hand holder can short circuit it all by ignoring the hand held (thus ignoring art) or hating the hand held (and thus hating the art, artist, curator, janitor and the art editor). This former is “A” in an “A through Z” approach to Art as Absolute and Art as Zero. If this seems “kind of” recondite, it can be made more BELIEVABLE (as item “B”). No one, any reader or non-reader who may be reading this, can fail to recognize item “B” in its BASIC believability concerning the bonafide benefits of the beautiful enlarged (engorged) engulfing reality of Art, either as edge, surface or territorial space, while also entertaining a toothache — everything will be different. It will not be a matter of “on” or “off.” It will not be a matter of turned off to to edge, surface or territorial space, merely in-grown self-concerned manifestation of toothache ego-centered perception. Actually everything will be different. The eye has no ache (supposedly) but it is needless to say, even to non-hearer that it will be different. The edge, surface and territorial space (and artist) have no ache, but easy to see, even to non-seeing reader, that it will be different. This can be made clearer, if was one was wont to do it, and I am so wont: substitute broken leg for tooth; emotional disturbance for leg; dead loved one for emot disturb; Famine in India for dead loved; Weather forecast for FAM-IN-IN; Clock striking Three for Wet-four; Clock striking One for Clock-three; Clock-SIX for One; SEVEN for SIX; TEN for SEVEN; ELEVEN for TEN; TWELVE-ELEVEN; TWELVE-TWELVE; TWELVE-TWELVE; MIDNIGHT FOR MIDNIGHT; NOON FOR NOON.

Item “C” is cool and calculated for the courageous only. Inhalation against exhalation. First yours, then another’s. Item “D” is a double densification for those who dropped dizzily out of item “B” (the beautiful one before calm-courageous); No-toothache for calm you and definite art-word, but a might-possible-maybe one for the person not next to you. BLUE becomes Yellow.

Now this is not talk about merely aesthetics. (Who was ever interested in that?) It isn’t a course in appreciation; appreciate that! It is not merely this or that (that has been thrown away) but THAT and THAT, and/or, THIS and THIS.

Item “E” will elucidate everything easily if it is eagerly energized. Enough of that! Useful information is coming. In contemplating the contemplator dealing with the anguish (suffering, un-satisfactoriness of a non-seen, non-art reality [World]) one should wipe it clean, spruce it up (do not Pine), and say: “AH!” This is said before looking at world, reality, art. It is not a response to world, reality, art. It automatically includes hands, feet, breasts, penises, elbows of all history, of all continents and combinations of possible-maybe-could be-should be-should’ve been histories of the world. There is a TOTAL (complete) Totality that triggers tremors of trickling. (Item “T,” incidentally.)

The clarity of vision is unsurpassed; the Art sees you. That makes it artvand you great and grateful, blissful and a changeling; changed and changing; amoeba into beast; beast into human; human into humorous human; hum human into real human; real into real; real in real; midnight in noon; noon in midnight.

All of this involves the eye and foot. The eye sees; the foot walks. That is usually how it is understood. (That and That!) But we know, I know and you certainly know that the foot and the eye, the eye and the foot “see” together. Seeing a surface, and edge or territorial space after three steps atr sea-level is not the same as, seeing surface-edge-space after four thousand steps upward a nine thousand, six hundred and seventy-two feet above sea-level. You knew this all along.

And at night (Midnight or Noon), those places of despair, you know how you can take/have those (this and that) physical things open dark mountains, and in revealing the dazzling lights, in breathing zephyr-like airs, crack open ZERO.

Don’t you think that would be a pleasant thing to do?

Start walking.

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