Wednesday, November 28, 2012

Notes on Art taken from Minneapolis, MN sojourn

Francis Zander (A.K.A. Mississippi Blood) hard at work painting in his Minneapolis basement.  Francis Jenny and I took many a long night in the limestone basement doing art together and separately together.

Breaking up forms to understand them or misunderstand them.  What does one do when one experiences experience as broken

Returning language to landscape and mystery.  The place where words were not words.  The place where words did not have to be the enemy and be words.

Nature is mystery.  Nature can be un natural.  Humanity has created new natures of various sometimes dubious quality.

All forms are the forms of the formless.  Foam becomes bone

Emotional depictions/not necessarily release.

What is emotional depiction?

The conscious and the unconscious engage in the spectrum of conflicts.  The conscious and unconscious engage in combat and matrimony.  Both are cannibals.

My own totemic

I cannot on purpose create a so-called “new.”  I must pursue the paths that are occurring.  I am occurring.  The viewer is occurring.  You are occurring.

Study the myths put shrapnel in them.  Do not be satiated with just Greek Myth.  Embrace localism. The local source of myth.  Your region’s folklore.  The old native stories.

Reuse--go through dumpsters---Reclaim, for instance payroll register computer printouts that have been thrown out.  Go find the frames inexplicably thrown in the recycle dumpster.
Always a metaphysical delusion.  YOU WE I have always done nothing and I am plagued by demons?    Demons with good intentions?

Does one resuscitate or receive visions anymore?  All the time?

Why the impulse to destroy art and creations.  This is not even a question.  The statement shall be continued to be made.

Define rhetorical    !    ?

Demonstrate Memory.

Representational and Non representational
The same sometime     The linear lost in the non-linear
        The non linear crossing the paved road

All the arts are inherently active sustaining humanity.

Listen to Rothko’s warning---
That is “………….the constant repetition of false hood is more convincing then the demonstration of truth.”

A picture is a reality.  A picture made is a reality.

Dialogue with nature.

The visual of voices

Creation alternates with the fog or oblivion

The dimensions of existence and experience depicted

Each individual artist must grapple with particular peculiar questions and problems.

The openness of the real.

Monet understood violence.  Stand very far back from his work and one will see.

Take many options amongst many

Where personal and historical fate meet.

Intention vs. passive

Depiction is the opening of open

A gesture and process is also depiction

Messages not translatable into words.

Mysticism of the line and contour

Mystery and meaning will not resolved

Do not sink the ship with the anchor.  Sink the ship with the anchor.

How does the animal make visual.

The Following Art work was created during this two week period by Francis Zander, Jenny Moon Tucker and Matthew Pony Payroll Bones.   Many of these are solo works, whilst a few are collaborations.  In all honesty even individual work was in a sense collaborative work as energy galloped amongst us.

A new Pony Payroll Bones/ Mississippi album was also recorded during this time also featuring Jenny Moon Tucker.  What started out as the Oak Ridge Boys Blues/ Oak Ridge Boys Love child got darkly weirder into darkness as songs and writing kept commencing.  Had a weird experience when singing about the devil.  More on this release later. As of the moment I am still deep in travelings.

Sunday, September 16, 2012

StaB YOR EnemY’S ShadoW tO KiLL yoR enemy: A Poetics concerning ShadoWs-

****Below is the bedrock essay to the unpublished booK of poems called Even tha LighT was DarK.  Originally the project was to be a collaborative effort with playwright Cameron Stuart.  The drawing was to be the cover and also by the author.

StaB YOR EnemY’S ShadoW tO KiLL yoR enemy:  A Poetics concerning ShadoWs-----------


“I live inside the house of shadows, the house with walls vetebrated like the dog’s shell.  Each night I sink in a little deeper—following the rhythm of the great legendary clock whose hands only begin to move at the twenty-fifth hour.
    The windows are left outside, for the house is reversible and there are roads digging in everywhere.”                      
----Jean Pierre Duprey  From The End and the Manner Translation by Pierre Joris.


“The darkness absorbed his words without throwing back even an echo.  Adrian dove against the nearest tree.  His buckling body slid down the trunk until his knees touched the ground.  He was in anguish, yet it was his own shadow that had been thrown across the sun.”--- page 122--Infinity

“…Yet, in all the arena of forms, there was one spot—a pock so dark that even the shadows of trees disappeared in it.”---Page 123 Infinity
Jim Roberts  -- Adrian’s Peace

I could noT shakE off the twilight.

Striving through severities--language of languages--- How to language--?--the steel teeth hunting traps -- send a child to  step on to scream in dull predictable pain…to make sense of ghost languages….to communicate from the jumbled light of shadows.  To carve shadows out of the light. To carve light out of the shadows…To put a dagger in all king’s hearts.

To caricature the falsification concerning the soul.   ----  ---------

To dwell in God’s country of negation. To sail the ship to mountain top and burn the ship to cinders and ash.  To kill a sailor in the mountains is bad luck.

The obsession belongs to no one yet belongs those who enter deeper in the cave of light where shadows are red bursts and the moon speaks as a New compass--!--Upside the shadow like a mountain, not a hill, we climb and climbed.  All keeps well and lost in the lonely.  Hobbling shall equate us to the defined cliff’s edge.  

All the symbols inside the dark countryside.  ALL the symbols inside the dark countryside of strangers we have caught on the butcher knife periphery.

The blue dark of this field night----Tyrannical bone driftwood language boundaries flashing memory--you that shadow--------SOMETHIN EVIL COME THIS WAY DRINKIN MY SHADOW UP LIKE MOONSHINE…The severity of constant kinetic action---is BurnT shivering sleep shadow--------pistol goes off in the blue fog din haze-------the absolute reality---as far as the human condition---and beyond human existence.
                                  Constant kinetic action is the blurring between light and dark.

A shadow poetics is the derailment of the self.
A shadow poetics converges public and private investigations into the underworld---questions the spiritual world.                                      A ghost is the shadow of the soul.

  The interplay/matrimony between light and dark gives us texture’s existence.
Light.  Any light shining is not the summation composure concerning light totality.  A darkness which colors the hues of shadows whilst is shadow--- speaks the concealment of light.
A shadow poetics embraces fluidity while coercing a violent interrogation of reality.  What casts what--- the shadow or the solid object?  Shadows inhabit the in between world---Forms a partnership---a criminal partnership with light…

Even the light was dark is a Gnostic tramping down lost roads, inside the skin of perpetual twilights.

After all and any experience one is left with shadow.

The creative act is the copulating alchemy between shadow and experience….Poetry is the archaeology of shadow ---when shadows manifest physically inner or outer as what has past.

The creative ritual in action is the shadow always pursuing experience manifesting.
All knowledge is shadow, unless put to kinetic action energy manifestations.

Shadows are the physical manifestation concerning all that is questionable and ambiguous.

Light exists as clarity.  One cannot clarify what is already clarified.  One cannot reveal what is revealed.  One must go to shadows---which are not the opposite of light….---A shadow is a mystery that conceals light.
The interplay of light and shadow is what a mirror is made of….The problem of self awareness of one’s existence….

    To obscure         is to root         the future                 into existence.  Shadows are the unknown                         physicality--------            Thou judgment                     of physicality and scientifically correct REALITY-----
        Shadow brings judgment             to the land of living and light.

            I found myself in the valley of shadow and death.

Shadow poetics                  contort and seek out fucking the mystery.   Shadow poetics         embrace the disorientation of the spiritual realm               whilst distorting         narratives        and the narrator.          TO understand
    Events             or occurrence is to be deceived.
One must leave all knowledge.
            One musT taunT one’s owN KnowLedgement.
    Poetry is the exploration of shadow.  Poetry explores the wilderness of what has been cast from the forms of incessant continual kinetic energy actions---

    PoeTrY is the shadow.  PoeTrY is all shadow     incidental or incidenT.

Shadows cajole         the poet/painter/composer             into lyricisms.

    A shadow is a shelter from the burning blistering light.
        Please sleep under the oak tree—
    shading     protection s      forgiveness        respiTe  (deserved or noT)
from the smearing             of open constant crackling darkly    those        fields.
    Form is ambiguity---Can shadow be perceived and if then referenced to its source----            All experience contorts---plastic--- secondhand---
                    Immediate experience is often trumped by totalitarian domination of what that immediate experience casts-----------shadows involve memory, the prostitution of memory----the folly of languishing -----lurid geometry of possibilities probabilities and there alliances….

A shadow poetics is to accept personal shame                 and guilt ---
THOU             shadow                     is Plato’s cave of shadows? We can only glimpse those         seeping shadows of eternal forms until we see those thistling bristling         eternal forms.  How does one see the eternal forms?  Does formation ever take place?  How do we know the eternal forms are             even there?---

    William Henry Fox Talbot –one of the innovators/inventors of photography said a photography is the “the art of fixing a shadow.”
                                Is poetry the catching of shadows cast from the objects and things of the world, living and non living???  SHAPE of the                     trajectory??

Oil and water---islands only touching at perimeters…..Memory is a wilderness this is shadow---

Is poetry the catching of shadows now?  the that those===words===worst===monsters-------

        -------            ……………..people being afraid of their own shadows---why are people afraid             of their owN            shadows…
 Shadow a shadow ----the lapse of
oil cascading                    inTo suddeN FRACTURES-----------
        hark thee hell of thangles---hark a shadow elusive capability
            utterance feel dementia proxies southernism nihilisms into a shadowy country---
                        The southern united states is a shadow country….where an incapable past of revolt, cruel extremities, poverty and isolation is like a shadow which casts the present –as a shadow of blurring light.

till even the bones burst with or without             a body……….
  In thee building house that bleaks with blue—Hark thee hell of thangs---Hark the hellish of things—where does one get gathered and located? Dark the morning dark the noon and nothing blows shadow nightly....the eradication of collective human contact ensues—You can never find glory.
  I need dynamics lay my body on tha gurney pad.  You will catch me drinking. You catch me drugging—All the small books of death—ALLthe small birds of death
  Someone is shining a flashlight in the house…A continent devoid absoluteLY             of shadows—the sky swims with dark blue circular             h        o        L        E        S.
 Shall we go inside the incarceration of the great wide open?                                                                                 The music was thin                     and disappears.
                                  So thee CrippLed MOnK stranger upon lost roads. meeTs a drifT
         EvEN thA LIGHT    waS     dARK    we do whispeR.


BY MattheW ponY PaYROLL BONES  Winter 2010-Late Summer 2012

Language Images and their Haunted Cross Roads

The below text depicts similarities and overlaps with the previous post, mid August notes.  The flesh has become more flesh.  A poem goes deeper into the lost cave for articulation.  The path may be fractured.  The path shall always be fractured, yet the path is a path!


Please enter the corn maze.  The minotaur lurks sordid somewhere inside.  The corn maze is on fire.

I am Orpheus.  I am arriving here an orphan.

Oblivion.  Oblivion is haunted.  Language is doubtful.

I arrive with visions in the kingdom commons.  I have jokes that are not entertaining.

The Obliteration of text shattered and disfigured.  The text is not shattered enough.  I am supposed to communicate.  Text is a communion.

Action has occurred.  Action is occurring.

Day to day common realities mislead through spells  resting upon a foundation language is definable.  Language, everyday language is a banality with weakened magic. 

How does one cleanse from the residue solvency of words that wrought the wrong actions?  These wrong actions prop up a normalcy, a social conformism/misguided comforts/ stupidities grandiose.  Vision as a museum piece or procedure is demanded.

 This is a house of rain built upon a shifting river delta. Ultimately, the essence of language and what language actually accomplishes remains indefinable.  Language is an obvious trickster.  Language is oblivious.

Language requires faith.  Myth and the kinetic action of communication twine spirals through language/word DNA.   Myth is the shamanistic healing medicinal.  I am Orpheus.  I am arriving here an orphan.

Stating the obvious does not help.  You have been deceived into being a moving shadow.

The reader is oblivious.  The reader is a contact.  The reader is oblivion.

Pay attention to the man behind the curtain who holds a gun to his head with his left hand whilst aiming a gun with his right hand at you.  He is divinity’s sniper.  I have become a ghost to avoid bullet wounds.  Words are daubed with gun powder and raw meat.

God is a drum beaten in the forest.  Language is generating through the chants.

At one time in the fog shrapnel past, dogs and wolves traded places and roles.  Wolves left man for the mountains while dogs took up with man.  Barks-howls-chants-yelps.  Languages---Ones recognized and ones not recognized.

Woman should have killed man.  Women and men kill each other with language.  Out of murderous fires, they resurrect with phoenix wings speaking new languages.  This is the ritual.

I am a coyote with crow wings.  My heart beats with southern blood.

Language makes you a liar.  Who is the liar?  The rain is eating the house.  Memory is a dirt basement with brown recluse spider infestation.  Loxosceles Reclusa.  The violin spider.  Venomous is the music of memory.  Memory has language and words.

The written word, perverted has made language forget physical detection.  Language has become pompous.  The internet has made language completely arrogant turning humans into a collective monkey dancing to the organ grinder. 

Humanity is pompous devouring their share of Prometheus’s liver.  He has cirrhosis of the liver and sings country and blues to the mountains and plains.  Please focus on the invisible words.

 The written word is an abstraction, meaningless in the digital realm  through gluttonous abuse and amusement heat seeking.  Heat can be freezing cold or scalding till bursting fire.

Utilizing archaic symbols.   Native American symbols.  The re purpose and return of Christian symbols.   The thunderbird image.  The sign for joy through the passage of suffering.  Then there is more. Always more.  Morose and uplifting.  Grace can be attained.

Language returned to gesture.

Language is secondary to gesture.

A hyper textuality somewhere between Jake Berry’s Brambu Drezi and Antonin Artaud’s last notebooks.

A search for accidents. A search for Disaster.

The copulating frictions of validation and invalidation incoherency deliriums to clear clarities.

What if Artaud has succeeded in destroying language through his incantation war fare?

Deliberate Incoherence. 

Illustrating text  through the carpentry of expressionistic mysticism.

Provoking language’s shortcomings of holistic description dialogue.

Return to the inscription.

Return to the picnic graveyard of childhood.

Pursuit of the non-linear.  The soul’s true states of being.

Inviting the ghost through the front door.

Tom foolery Mysticisms whilst casting Ritualistic magic.

To snatch the visceral (flesh) back from the defilements of language.

To offer severe acknowledgment to all ghosts and souls.

The empathy, methods and evidence of the hermetic.

Creation-devout obsession-transmutation.

I am Orpheus.  You are Orpheus.  We both arrive orphans.  Let us pray in the mountains, plains, valleys, street scapes and barbed wire city limits.

The physicality of certainty pertaining to geographic location

Return the non returning  to MeadoR Avenue   
DriftY eyes time
Cloudy, river rolling glows white
    Jailbars metal burglar bars slash verticals and ventricles
Economic protocols and         pr o t e c t I o Ns------

Language is locatioN.

    YoU can’T go hoMe agaiN.    You can onlY be against location.  Location exists only through contra.  You are breathing Thomas Wolfe’s Tuberculosis of the soul.

In sullen red places where wolves howl silver howls.

I imagine these wolves with phoenix wings and they are real---galloping through a sky -----A sky galvanizing and clashing---converging copper--brimstone crimson blood copulating with silvers

I drop my teeth in confederate dirt
Loose limbs, I have wings I can take the air and make slashes
    I exist in this, thistles in tha fur,  I have fur and eat words

The singular of waiting!  Tha carousel goes
R O U N D I   N      G

        SunbeaMs croooo  Ked-------tha backyard
Veils with voices cloaked in veils

        HeRe, Here, HErE, Now!  The street is existent. I promise.  Real things.  Real things. I cannot promise you real things!.
Real things! I suppose, with
S U S P I C I O N       (resignation)s        SUSPENSION  (S)

Tha old farmhouse I live in, then the post war (two) brick buildings, things called homes called houses called housing market and neighborhoods, called the hood.   SomE with windows broKe.  Even tha broKe is even broken.  Neighborhood children play chant plaY.

    Two black skimpY 12 yer olds rounding tha midnight doing tha old mating rituals and learning as theY goinG.    Midnights mating.

TheN I am existent hot concrete porch.  Humidity took tha air into a solid displeasing friction.

    HIS LIFE drunK in the twisted vines
A caSKET Made of kudzus, ka ka ka zooo. Hear tha kazzooo plaYeR.

All guitars are irrelevant and silent.   Go to hell.


Thursday, August 16, 2012

Speculations/Notes Mid August

Inebriation through the mysteries.

The gyration. The gyre.  The copulation.---between figurative and complete abstraction.  You are the abyss.  The abyss is a bridge.

Where does possession begin and end.  I am talking about spirits and ghosts.

Return to animals.

Superimposition of energies. Wavering of lines

Medicinal.  The pursuit of the medicinal.

Orphism as in Orpheus.

The stimulation of the gesture.

Gesture as similar to a dowsing rod.

The creation process exists as a continuation of constant coup.

One returns to the common place as if one’s hands have been severed.  Open the mouth and the tongue has been severed.

One must submerge in the water.

Art is like shoveling shit.
Art takes hostage the individual, be it creator, viewer, and/or participant, into the human mysteries and the non human mysteries.

I want to understand the colors of words again.

I restate the past in the continuing passage of history.

A dog’s bark is stolen by the wind.

To interpret future history, To interpret any history, yet at different convergences and conjectures.

I am swallowing the river and the river is swallowing me.

All of my work is mystical anatomy.

Art as medicinal to alleviate the tenacity of the tedious.

All art Refracts.

Art is the grinding of sex organs.

Art is the completeness of unfinished unfinishing.

Nerves laced to the bone.

most work is for sale.

Tuesday, June 26, 2012

Poem (s) Spoken. Duskhouse Poem Recitations

Poem (s) Spoken. Duskhouse Poem Recitations

Last night I recorded myself reciting portions of the work in progress Duskhouse to Duskhouse.  What manifested was a volatile poetry.  The poems eagerly proclaimed volatility against the fixed nature superficially apparent on the typed page. Although I feel this is obvious, the written word will always deceive us thoroughly if a writing is not read out loud.

 The act of recitation manifests the written word into the flesh of physical reality.  The writing becomes true dialogue as the language within seeks relationships with the world. 

Word emphasis revealed itself  seemingly spontaneous.  Intuition is only knowledge, secret, in athletic occult practice, that is in physical action. 

Enunciation is a peculiarity. Silence is only rhythm in slow motion.  The intensity of the tempo depends on the presence and/or non presence  specific to content extremities.

Obscenity would slip in solely for adding exclamation and clarity to the book’s ugly jagged and shattered/shattering fragmentation of narratives.  Bad comedy and the specter of redneck jabber drooled in attempts at direct coarseness.  You got to bring tha hammer down to miss the nail and bust the thumb.

Some lines in some poems revolted into supernatural repetition.   The musicality of language came forth.  Certain lyrical lines goT possession by the blues.

I became different characters, depending upon the poem.  Do not take this as  any simple use of Persona. This is a multiplicity of drifters converging.  Adamantly, I  strongly suggest some poems are documentation and evidence of ghost/spirit possession.

“:Anyone could be possessed:” 
(Andy Young from Vodou Headwashing Ceremony)

Recitation also led to illumination concerning the work’s content.  Duskhouse to Duskhouse is revealing eccentric repetitions concerning specific images/motifs/thematic.   Pick up trucks seem to be an obsessive occurrence.  Chickens also keep on clucking their clout (ness).

Friday, June 1, 2012

Notes towards a Southern Regionalism Poetics Manifesto inside the 21st Century: Part One: A Peculiar (Personal ) Geography


Notes towards a Southern Regionalism Poetics Manifesto inside the 21st Century:  Part One:   A Peculiar (Personal ) Geography 

I am a regionalist.  I am a Southern writer.  I am a storyteller.

When you pass chicken houses, you will most likely smell chicken shit.

I am collecting the lousy antique trash of yesteryear, past times.  I am a cannibal.  A cliché devouring other clichés.  Self-indulgence?  The parody of ego?

I am eating the flesh of the past on a Sunday morning.  I am hunting deer with Jesus Christ deep down within a cold Saturday evening in January.  I have never hunted deer before.  The future keeps happening.

Gratuitous Violence.  Family and the incest.  Hank Williams Senior.  Hank Williams Jr.  The shotgun wedding of the soul and ghost.

This sure is one those investigations of sordid sorts why I agree with my first declarative sentence. 

Initially,  a response to Hank Lazer’s essay “Poetry Scouting Mission:  At the intersection of Southern and Experimental,” which serves as an introduction for the poetry anthology Another South:  Experimental Writing in the South, which is edited by Poet Bill Lavender.

Like most motherfuckers lollygagging in the swampy brackish backwaters of existence, this essay is not necessarily pertinent.  True to Southern form, I am behind the times as Lazer’s essay is about ten years old.

Also, the follow up to my first chapbook has reared an ugly whorish ghostliness into slow drafting(s) of physicality. Duskhouse to Duskhouse is nearing completion.  I want to understand.  I understand nothing.  I eat rocks on the dirt road.

What follows is not a persuasion of any kind.  This is conviction, not convincing.  Humor will fall flat.  Incoherence shall manifest here and there.  Indulgence shall manifest.    This is the mania of despondency and being out of touch.   This is being an outsider.  This is simple minded and naïve.

Futility is fatality.  The micro is the macro.   Myth occurs forever and anywhere always the recurring cyclical.  Fragments jutting and bursting.  History is always the forever unseen future.

Regionalism.  -- The nervous disorders and malady of the macrocosm is all present even magnified more intensely through grievance tragic/triumphant/comedic shenanigans in the micro details.  Devils and (holy) ghost in the details.

All is occurring in the present/simultaneous/awareness of the microcosm.  An egg cracks open jettisons tha somewhat incubated occupant(s) into a larger egg.  This may be Earth World.  The egg may belong to a rattlesnake.  The rattlesnake may also have rooster wings.  The serpent (infinity) is territorial. 

(Two mirrors face each other till the mirror don’t exist anymore.)

So why the South?  This is all happenstance and chance.

Nothing wrong with regionalism.   I was born in the South.  I am shaded with so-called southern characteristics.   Some so called characteristics fit into stereotypes held by non-southerners.

I am the 2nd generation that is not a farmer. 

The landscape including now, is a vast supernatural.

I lampoon vernacular, local color and all the colloquialisms.  I actually utilize such vernacular usually on a day to day basis.  To some, I may cross constant paths with cliché.  I also have an accent.  Whatever this means and sounds like. 

I try to walk the talk.

I grew up in Northwest, Georgia.  This is the tail end of the Appalachian Mountains.  I grew up around plenty of Rednecks and Country Folk.  Still are plenty there.  Each subsequent generation seems to get co opted a little bit more by our ravenous media leviathan, which attempts to enforce what culture is.

My father’s family stretches back at least 4 generations as farmers.  All were in the armed forces including my father, threading back to at least the civil war.

My great-grandfather Henry Grady Proctor died working the farm.  He had a massive heart attack while plowing or messin with some crops one day.  I imagine the day was drenched in sunshine and blue sky.  I could be wrong.  No one told me much about the man.  Was he the one who played gospel songs on the banjo?

I grew up in the rural, which was maliciously maneuvering into the faint echoes of approaching suburbia-----
    --The echo from metropolitan Atlanta.

I know far too well the cliché of dusty dirt roads and slow moving muddy molasses rivers.  Downtown Rome, Georgia ---The Etowah River and Oostanaula River converge to form the Coosa River.  All three rivers are slow moving muddy molasses rivers.

I have partaken deep inside the mangling of the soul through bad bad bad redneck habits.  I have drank moonshine, snorted snuff and also participated within other destructive habits that will  remain non-disclosed  to avoid any possible incrimination by the wrong folk.  

Redneck’s are not just southern.  My mother’s side of the family in Iowa proves this.  They are honest people.  All fools trying to be honest are decent.  

I am not connected to the land, nor had as much the chance as my father who grew up on the farm.  Max Senior’s farm.   Senior Proctor was the last farmer.

I connect the land by exploring the forgotten, fractured places.  Places lost in the wilderness.  Places lost in the the barely existing towns that are lost.  Plainsville, Georgia or Campbell ton ,Georgia.

I followed a creek to the Etowah River once at the age of 16.  I found an old forgotten railroad trestle in the woods.  An old trace of an old railroad path.

I Sow and reap my crops from the expression plowing a field called creation. Sometimes my soul is a mule.  This expression is physical, inner outer, internal and spiritual. Creation is related to the universal. Art.  The expression called art. Not all art is universal. All art expresses being human.   When I say art, this includes writing, painting and music.  Is this perverse?-----We live in constant perverse obscene times.  Time and space are becoming one very slow.  I am a mute eating mud out of the rain puddle.  The adults walk by and say he is retarded.  Sometimes my soul is the Turkey Vulture.

The south is drenched with mystery.  The South is pissed on by mystery.  I have seen a ghost on top of a mountain---naked---pissing in a summer thunder storm.  I recall the violent motions of those trees bending with throttling wind gusts.

I have lived the clichés numerous within some Country Music Songs.

Clichés.  I so happened to live in a neighborhood that actually did build over an Indian Burial Ground.

I lived on a dead end street that ended upon a 100 year old flood plain.  I experienced the flood!  Late 1980s.

I lost my virginity after sneaking off with my anorexic girlfriend from a Southern Baptist Church Revival.  We did the dirty deed in the back of a claustrophobic backseat parked in the city cemetery.

I have built a barn (age 19)

I have painted a barn red (age 15).

We rode 4-wheelers thru mysterious backwoods trails near Talking Rock Georgia before the big highway was built.  We did this as family recreation.   We found a cabin unfinished and abandoned in the middle of the woods.

Talking Rock Georgia is haunted.

I grew up very near New Echota.   Calhoun, Georgia a pathetic little railroad stop pertaining to the locomotive as it traveled ferocious to Chattanooga, Tennessee.  Yes, New Echota.  I was raised in the valley where the Cherokee lost there final stand upon there sacred homeland.  Betrayal Treason Conspiracies.    I grew up half a dozen miles from where the Trail of Tears began.  We took field trips one after the other here.  Interpreters, you explained only very little to us children.

We visited Rock Eagle.  An effigy of an Eagle made of stone.   Mississippi Mound tribe probably constructed this. Thousand years ago.

Mystery pervaded/Mystery pervades

I was/is haunted.

All tied to peculiar land and unresolved.

I saw things//heard things.   Those who held official power deemed such things as non pervasive non pertinent.  A fancy.  A damn bunch of lies.

I object.   These occurring occurrences were pure convergence.

Spiritual Convergences at the Etowah River.

Cherokee buried gold in Dykes Creek upon my Grandfather’s land.  The creek formed the bottom boundary to the farm.

I have driven down Dead Horse Road, Walker Mountain.   Summerville, Georgia.  Paradise Gardens lies down in the valley.

There is a road called Asbestos Road on the outskirts of Cleveland, Georgia---Gateway to the Mountains.

I tell unresolved stories and other folks unresolved stories.  What do I mean by unresolved?  The mystery that occurs in the common place?

I am drunk on the fermentation of the past---time traveling in the future.  Would I rather ride a Donkey or Mule?  What kind of question is that?

Tha ole playground---A childhood friend used to yell the accusation upon me that I was a Rebel.  I countered a shout back he was a Yankee.

One’s art must source from one’s (personal) experiences.  Of course, the coarsely  obvious must be stated.   A corpse is still a corpse.  A hot ass is still a hot ass.  Haunting eyes still haunt.  Possums keep up tha good work of suicide.  Thar gnarled death bloating on the highway median.

I used to fear my Southern Accent.

I have been to Hank Williams Senior’s grave on the outskirts of Montgomery Alabama.  You can see the graveyard from the Interstate.  I have read Hank Williams Jr.’s WARNINGS!

I have suffered Lee Johnson shout me down shoutin I was lying like a dog.

Atlanta, Georgia will never resolve anything.  I have wasted a little more then one good decade here doing this living business getting dirty in dirty ATL.  I have never read Gone with the Wind or sexually fantasized about Margaret Mitchell’s death by Car on Peachtree Street.

I used to sing the city too busy too hate found time for me.  This was probably a delusion.  Delusions still hurt.  Delusions can be real--- Like the shapes out in the Kudzu fields.

Atlanta fades into the countryside then fades back into the city.  Wild nature has returned to the land surrounding the abandoned dumps down South Moreland.  Nature has returned where the projects got torn down.   Open field briars brambles tangles-----a trickling creek down tha 13 feet gorge.

Yes, every singular lone poem is a place.  I have missed the point.  Have I sought the misery that is limitation as freedom?

I never wanted freedom.  You are mistaken if you have seen or heard me seek that nonsense.

I have seen slow muddy rivers go swollen with flood, breaking there banks.  I am living now.  I will experience this again.

Every god damn time my wife and I drive to the  mountains---tha rainstorms come along.

I have skills, yet I am unskilled to officials in charge.

This was supposed to be about poetry.  Poetry is a way of life.  Poetry is a calling.   Poetry can drag you in the ditch teeth first.

I have seen shadows more real then flesh.     

I will do everything backwards and wrong.

I have gone astray.


by  Mathew PonY PaYRoLL BonEs DoyaL Proctor

Monday, May 28, 2012

Aphorisms Splinters and Speculations


Aphorism splinters and speculations    May 23rd-May28th                                

Art is the evidence of investigation

Art is the experience of investigation

Art is the anti-diversion.  Art is the confrontation.   Art is mutilation that unshackles the ghost soul problem.

 Method is content--Method/content and content/method equate each other/

All art is a description in action.  Art is the experience of immediately experiencing description.A work’s most important essence is the work’s very existence===---so called meanings, intentions, interpretations, praise, condemnation,, social significance, functional usages and other vainity and or vainly sought never resolved critical investigations belongs to archaeology.   The present is future time travel.

Any work has limitation and all work at some moment(s) shall denounce itself.

Recently, inklings of faded ambition have conspired me into action.  I have been adding images of works that have been destroyed eradicated punished or simply have disappeared.  This is a tedious process.

1997 wood board acrylic and oil house paint  newspaper---This was either burned or thrown on the side of the road. I made this one while still in high school.     I have destroyed hundreds of paintings, mostly intentional.

I intend to start putting some music related stuff and new book stuff drafts Duskhouse to Duskhouse in the near future, sequel to my first chapbook Spiritual Convergences at the Etowah River.

If interested in acquiring any artwork or any Pony Bones music please feel free to contact.

Friday, May 11, 2012

Fragmentations Speculations and chasing the ghost

FRAgments and speculations: Selections from January -May 2012

To draw without willed negotiation or the linear preservation concerning navigation
        To get lost on lost roads
Till the lost crossroads is
Discovered in rediscovery
        Archaeological Athletics  

One must wield sharp teeth, to make ghosts bleed both benign benevolent malignant malevolence.

The artist’s physical body as well as the  aura/ghost/soul of the artist act as a biological/spiritual alchemical process concerning the gift.  The gift is an obligation.  You will be destroyed either way.  Accepting the gift will give one a more honorable death as well as a richer living experience.

                                              A work of art follows a sphere of expression.

Thursday, April 5, 2012

On Landscape Painting

On Landscape Painting

My work concerns opening a field. This is the kinetic action of opening mystery. The mysterious flows through the creation act of opening fields. Certain fixed shapes are manifested/maneuvered first. A horizon is staked. You experience the Earth and sky. Empty spaces are saturated by a dominant unifying shade---usually a shade of white (eggshell/gray/). Fixed elements are kinetically affected by the deluge of commonality.

Ground colors Earth colors brown shit brown black earth dirt -- wheeling spectrum of greens. The sun and moon are the same. The simultaneous---

Various conjectures---Movements. Occurrences. Upheavals. Upheavals breathing in out winds/Heaving spirits---

The landscape is Epic. The cacophonous movement revealing what is there and not there.

The viewer is the pilgrim who wanders in. The sky is vastly large. Fastidious vastness relentless continuity--blessing and suffering.

Birds manifest. Birds may become the act of warfare.

Everything is between forms. Shifting. Shattering. Splotching. Scratching. Blurring. Vibrating in the violence of colors. The land is epic and is screaming an epic silence. The moon becomes a shroud. A face peers out.

Revelations. A story unfolds and folds in. Everything is absolutely between forms.

Saturday, March 31, 2012

Morbid....morose....exercises in despondency. Often certain recurring motifs start occuring in my drawings and paintings. Specifically the drawings. These images for the first two months became a grotesque reminder of despairing. One day this sub paradigm shifted when I was illuminated these were all cathartic exercises in exorcisms.

A series of skull depictions A.K.A. the death's head and the death mask--- symbolic non linear exploration of various death experiences at the conjuctures//crossroads of blending melding cacophonious (serene) realities. Yes some of these are comical, mostly in facial expressions. Straightforwardly this series is an exercise in anatomical form and the possibilities of the expressionistic.

These series explores the true physical deaths of friends over the years as well as symbolic/metaphorical and metaphysical deaths experienced in the banal day to day accumulative disorders and disalignments of daily life.

The recurring skull image through each piece transcends the dull blackness of my own life wretching/retching towards archetype ambiguities.

The skulls also have dialogue with burial ground artwork. Many an old graveyard will have death heads on tombstones especially if the grave predates the civil war.

The photos are not of the best quality and angle yet. I promise to repost this and much more visual works in the coming weeks.

If interested these works can be acquired.

Saturday, January 14, 2012

another record in the sleeve---Cock-A-doodLe-doo is suggestive of a tombstone. Musically and a way of life. A very ugly way of living life. The band on this album, notably Shitty Bedford and Cameron Stuart A.K.A. Tha Lemon Kid, are gone. A time in the timelessness that is withdrawn into the pony bones shifting mythos parameters. 13 cassette tapes comprised the sessions. Recorded on Bedford's 8 track analogue. THe machine died at the 13th tape. A perplexing 14th tape i will someday confront was recorded through Robby Kee's magic boom box...those songs featured a cataclysmic mess........most notably inappropriate xylophones............

Monday, January 9, 2012

Here's yet another front cover and two different backs of the packaging. Lordy Lordy very tedious. I'm on number 90 out of three hundred at this point. If interested in a record please feel free to contact me...

two examples of the cock-A -doodLe --doo album cover----All 300 copies have variations All are made unique. The process is time consuming yet each are special. The one above contains an acorn...This is the first pony bones on hard 12 inch vinyl.....