To give my best overview of the creation of the play below is to say a visual campaign was of supplement to a mashed alphabet. Gravity helped me to sit on slow chairs in front of the digital art that was my photo achieve of personal stories, social history and environment. Maybe a dog popped in here or there. It was a process of critical thinking and curiosity to make a personal repossession of the photography. A bit like IKEA did with furniture. I gazed upon the hand in silence, with hidden feelings that I was living the lifestyle of William Chester Minor. My role was a kind of craftsmanship to dye the rules in nature with my own words, words that came to me from simply looking. Some would deem it additive manufacturing, like the work in progress of a futuristic master Azart artist. I was left with a list of words the size of a paperclip compared to the one to the left of me. I don’t disbelieve that if I were to continue my list would fill the human body, now it could fill a large poster made by Jan van Toorn or part of a suit or outfit. Although it would be a never ending process to fill Boijmans van Beuningen. Big here long now I was faced with the problem solving of a typographer, not like Sagmeister but one whose work was fair to say of careless design. The problem was generating a random selection of words to use like animal resources in chaos and order to be the leader and kiss the dialogue. I used a programme that was like some kind of Greek Thonic, that spurted words at me, a surprise selection, which I had to use like a Situationists. On the page the words look like a decoration or embroidery to a narrative surrealism, which imbedded hints of sexuality. To dream like a cyborgian I think I gave the sense of words in animation that in turn has self-made a whole loaf of poetic bread.
