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  • Writer's pictureAmelia Nicol


Indicatives of spaciousness, the clear open air and the ways in which that which is real or obvious becomes obscured or the intensity of expectancy in medium and the conditioning of space. The wanted obviousness in objects, the loss of blank space and the differences in that which is considered emphasis or these ruling thirds in the spiraling nature of Fibonacci patterns. The frequency or magnitude in portions of objects or scenery, the ways in which some things tend to seem illuminated from within and the ways in which thirds from hexagons of morphological weight transfix pattern to placement. How could anyone guess for underlying structures in nature? The wanted shapeliness of water and these honeycombs of pressures and indicatives. The conditioning of unrest toward that which is actually underlying principle in nature and the ways in which that which is avoided becomes obvious in the obscuring. The wanted hidden path or the light in different angling through doorways and mirrors, the distinctions of effort and the ways in which proud obscura could find similarity or difference in anything. The forward leaning wanted movement in shapeliness, the pause imagined in picture and the ways in which conditioned rules to underlying structures could trick with emphasis or leading lines away from the fundamentally underlying pattern. These patterns in movement and the rules outside of that which is found easier in stillness. The perfections of spaciousness and the distinctions of timing in that which is noticed or hidden in efforts of emphasis. Small frames of light, the glancing patterns of drifting snowflakes, lit for a moment, quickly extinguished and replaced, flurries of single bright flakes in a window pane, choosing one to notice, watching all these perfections in form and structure disappear, form huge mounds and quiet the air. The distances imagined in these shapes, the globular masses to chrystiline forms and back again, vaporization and the ways in which pattern fills chambers and voids, the conditions in igneous and the ways in which minerals fill in. The distances imagined in stillness and that which is beyond in motion, the motif of conditioned rules in that which is assumed some sort of stillness and the actuality of pattern in motion. The distinctions in that which is morphological underpinning and the conditioned unrest of that which is in constant motion. The pressures of space and the conditioned indicative motif in motion, the imagined sound of a snowflake being vaporized to pattern and the indicative weight of silence in that which is quieting the atmosphere. Actual silence, clarity and stillness in a universe of constant noise, color/hue, and movement, the wanted loudness to curate silence, these shattering aspects of vaporization and the ways in which pattern could move itself into existence. Active resting and passive potentials in gradient and the mediums of dis-concern or care, if every single snowflake made some noise...every time a cell vibrates within a solid, it creates the impression of solid electric that we actually encounter or feel, the actual solidity is beyond me, as is the sound. The wanted noise in that which must have sound, the quieting nature of snow and the ways in which conditioned expectations in stillness or velocity has changed or tricked critical thinking, free thought and the willingness to wonder. The reality of conditioned fact and the ways in which difference or similarity in circumstance could overlook actual underlying principle.

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