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Monday, October 13, 2014

The Schism, parts 3743 - 3746

3743. First of all it was very smooth, shiny, and pure white. You would think that if it was white and shiny it would appear to be more valuable and also more sought after as a collectable work of art, but just the opposite was the case. For some reason the best and most valuable marble sculpture is always dirty, dingy, yellowed and chipped, and even damaged.


 3744. Not only is it desirable for old sculpture to be damaged and dirty, it is best if there are even parts missing and sections broken off altogether. Since this is so, shiny, pure white, smooth and faultless works in marble look cheap and lacking in a certain seriousness. This fact has led many an artist in the past to bury their works in the ground for a period of time, and then dig them up again with the hopes of improving their appearance, or rather, of ruining their appearance in a desirable way, which ever you prefer.


 3745. Those artists who bury their sculptures in the ground in the hopes of making them look more antique are often disappointed with the results of the resurrection of their creations. They had hoped that the simple addition of accelerated aging would have turned their inadequate forms into something rich and strange, but find instead that the work remains uninspired, if it was uninspired when it was buried.



3746. It is then that they resort to desperate measures and picking up a hammer begin to smash away at their work in the mistaken belief that the damage they inflict will finally transform some inadequate piece of sculpture into a ruin that will move a viewer to a poetic moment in which they find themselves transported to some ancient place and time.

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