^KC Good-Good evening, ladies and gentlemen. Good evening. Good evening !

^Crowd Good Evening

^KC Yes, yes. Because I want this evening's presentation to really be a conversation. And it's not a lecture. We did that on Wednesday. Today, this evening, I would really like to get some feedback about the topics that we've selected. And we're going to have a discussion with the exhibiting artists at some time in this discussion.

^KC So I'm keeping it really very open-ended and flexible. I know at the first instance, I want to talk about abstraction and art, because that's a concern or a subject that creates a lot of uncertainty and insecurity. I just want to put that into context and then talk a little bit about the arts of the Caribbean. And then we will talk about the arts and the artists here. All right?

^KC So the thing about it, what I'd like to emphasize at the beginning, if there's anything that I say or any question that arises in your own mind as we're progressing, just raise your hand and there's a mic somewhere above, and we could have a conversation rather than a...

^KC So there'll be a dialogue rather than a lecture. So I hope that's okay with you. Is that all right? Okay. Wonderful. 

^KC I want to start with a little definition of terms, for those of you who do the academic tradition, you know that you have to start off with the academic aspect, list out some of the definitions. And I want to talk about, first of all, abstraction. What is it? All right?

^KC I should ask you first, so let me get a sense of, what do you think the term abstraction and art means? Do you have an idea? Anybody would like to venture what they think it might be? It doesn't have to be right or wrong or whatever.

^KC It could be... I wish, once I have something as a starting point, that we could go forward with. 

^KC All right. Okay. It is primarily the fundamental language of vision. We see and we make lines. We see and we make shapes. We see and we make textures. All right? It is the fundamentals, the things that we were born with in our eyes. If I were a chef, I would tell you it would be taste. It would tell you that, oh, this is bitterness and this is sweetness.

^KC This is sharp. This is dull. This is bland. If I were a musician, I would tell you this is do, re, mi. And this is [claps] rhythm and so on. The absolute fundamentals of our practice as artists. In the world of expression as we know it, abstraction operates at a polar extreme of realism. So, and I have a little illustration I wanted to show you. So, at one end you have abstraction and the other end you have realism.

^KC And as artists, we negotiate this line with various elements, line, shape, color, and we use the principles. The principles are really the abstractions, the ideas upon which art is built, whether this thing is balanced or unbalanced, whether it is contrast, high contrast, low contrast, whether things are close or far, you know, those are the fundamental principles. So, everything we look at, we know that this could happen. So, for example, to tell you how uncomplicated it is, this would be a line, this would be another line.

^KC But immediately we know that one is shorter than the next, one may be closer. So, if I say, oh, this is close and this is far, this is a short distance, but I could also meander, oops, I could go under and so on. So, it is really based on our own understanding of how we see. That's what abstraction is. So, this could have been a very realistically drawn figure and another across there, and we would understand that they are standing in the landscape.

^KC So, that abstraction is the absolute basic fundamental of visual expression and visual communication, because I could color it in a very moody way and induce a lot of sadness, or I could brighten it with sunshine and birds flying through the sky and so on. But it's all based on the same abstract idea of near and far, big and small, organic, geometric, and the contrast that they exercise on each other, as the case might be. So, does that make it clear? If anybody has any questions, let me know, please.

^KC Because I just want to establish that abstraction is not a mystery. It is part of our DNA, the way in which we see. And it is related to the way in which we think, taste, feel, all of the concerns, all of the concerns that help us to demonstrate our humanity. And the images that we make are images that we make to communicate these concerns. And as we know, human beings, we communicate on multiple levels. There is a level of communication that is gossip.

^KC There is a communication that is poetic. And very often we use that poetic methodology for praying, because we want to talk to Father God, you know. And sometimes we are very emotional. And sometimes the emotion bursts out into gesture and so on. But I'm just saying things that I am hoping that we all understand and appreciate, so that we have a good insight and knowledge, a personal knowledge, about what is meant by abstraction. And if there is no question or, you know, if I've been clear enough, I think we can begin to look at some of the images.

^KC And I hope. So I will move this. Okay. Yes. So we look at some of the visual arts of the Caribbean. And I want to look at the ways in which abstraction moves through them. So we look at the first image. This is probably the most famous piece of art of the Caribbean, right? Jungle. By Wilfredo Lam, yes, the Cuban artist. Well, right now he's getting a major retrospective in North America. All right? Yes, well, he's receiving much acclaim.

^KC You know, he's been dead a few years now, but still. This is a painting that went into the Museum of Modern Art in 1943, or thereabouts. One of the elements that I wanted to touch on, but one of the reasons why I'm using this as the first slide, notice the vertical lines that run through this entire painting. They're very densely composed together, all vertical, very closely aligned to each other. You could almost not even find a space in between them.

^KC And hence the jungle film. It's just the verticality in it. And in between these vertical lines, he's squeezing in some masks, some human characteristics that come off of the human body, and so on. Using these curvatures, shapes, and of course color, to tell a story about the forest, about the jungle. He's telling the story about the mystery, the heritage of Afro-Cubans, and so on. All of these using the language of lines, shapes, color, texture, and the suggestion of forms that come from realism.

^KC And we read these, and the whole concern about art in the modern period is that we want the art to speak immediately. We don't want the art to be something that you have to decipher and come to a realization after two hours of looking at it. And it is a characteristic of modernity. 

^KC It is a characteristic that emerged at the middle towards the end of the 19th century when artists primarily in Europe wanted to make statements that were immediately understood and appreciated by the public.

^KC They wanted to move away from the older, romantic, church-sponsored art that spoke about stories from the Bible, and so on, to talk about everyday world. Art that now spoke for and to everybody. 

^KC We are part of that inheritance. Wilfredo Lam, as a Caribbean artist, an artist born in the Caribbean, went to Europe, got himself involved in a lot of very powerful concerns in the war, in his own education, and in the social activism of artists in Europe in the first leading up to the Second World War, the war in Spain, and all of the political turmoil that was going on in the first half of the 20th century, which we know was a very turbulent period.

^KC It was also a period in which the Caribbean began to decolonize itself. By decolonizing, the Cubans were coming out of the war with Spain, so too was Venezuela. In Trinidad, East Indians were freed of the indentured contracts that they were on, and so on. We began in Trinidad for the first time to have women could vote for the first time in 1922, for example, and so on. So there was a lot of political and social turmoil that was very much a part of the world at that time and of artists in the Caribbean at the same time.

^KC So, yes, I thought I would start with this one because it's famous and most of you may have seen it before, but I wanted to relate it to the language of abstraction, as we call it, because I want to emphasize that there is nothing like abstraction, really. It is just, we all use the language, but we use it for different things. But there's a general kind of colloquial way of thinking about art as abstract and as… okay? All right, we can take the next one.

^KC All right, this is him again. Same vertical use of the lines, but notice by changing the direction and the shape of the line, you begin to tell a different story. So he's bringing other concerns and issues to the expression. All right, yes, I wanted to look at, this is a painting that was commissioned by the Trinidad government in 1962 at the beginning of our independence. Now I must say that this was done in Trinidad, but there was also a commission in Jamaica and there was a commission in Guyana of artists to make a historical statement because we are moving towards political independence.

^KC And in each society, I know in Trinidad, this tries to encapsulate our history. And it's a history that reads from left to right, or from this way. It's a history. Again, you can see the use of the language. I wouldn't refer to those things again. I'll just talk a little bit about the story, about the inattention of the human figure as a symbol, the tangled forest out of which people are emerging. It's all metaphorical now. I started to talk about, we communicate in various ways.

^KC And I talked about the gossip, but we also speak in metaphors. We speak poetically. And all art aspires to put poetry, especially when we want to make a statement that is going to go on high or to go through space and time. And there are lots of symbols in it that could be read because we're looking at the emergence of a people out of the tangled histories and the birth at independence of a new person.

^KC Well, I refer to him as the hummingbird man because it's a metaphorical figure. He's a combination of all of the racial and ethnic groups in Trinidad. And he is at the moment of flight into the future. You know, he's a symbol of freedom, that gesture that we all feel. And it's a gesture that we are familiar with because some of us, when we wake up in the morning, the first thing that we do, you know, is stretch it out because I'm ready for today.

^KC That kind of, and of course there are other mementos, things that deal with the landscape in the back here. And so, but it's the abstraction that brings together all of these elements, okay?

^KC All right, and I just want to touch on a few artists of the Caribbean. Philip Moore from Guyana is now dead, but I thought I'd use this as an occasion to offer some of his work to you. And we could go through his, all right, this is his, obviously, you know what this is, right? You know, it's a cornucopia, it's a bowl of fruit and flowers.

^KC And it's, you know, it's a wonderful statement about, thank you, harvest. I am bringing all of the loveliness of my society to your viewing. And, you know, the way that the colors are used, it's all very, you know, full of enthusiasm and full of vibrancy and so on. These are the, you could go through it and see, it's so full of fruit. Every single one is presented in its most ideal and idyllic manner. The basket, we all know, is very much a part of the presentation of good.

^KC Basket is a metaphor that we use all the time. I wanted to, but I don't need to talk much more about the color, because I think we can see the color, right? It's not realistic, but at the same time, he uses, if you think that on that spectrum of realism to abstraction, you can see that he is taking these abstract ideas of color and line and shape, and he's using that to express himself more than anything else.

^KC All right, this is him again, his work. He made the Ghana, the two major monuments. This is his bronze monument. Again, the figure, but using a lot of symbolism in the figure. I wanted in this one just to talk about another principle of visual expression, the idea of symmetry. 

^KC Symmetry, we know, is something that establishes balance. It helps us know right from wrong. It is fundamental. It is part of the architecture that goes into our most sacred spaces.

^KC We know where the altar is, and we know where the congregation sits. We know where the doorway is. It's a form through which we find our center. In this painting, he is speaking about motherhood, and using the idea of symmetry to celebrate it. The motherhood is in the head. It's very clear now, especially when you look and you see symbols of Christianity and so on that he has established. If there is anybody who would like to interrupt me, please don't.

^KC I wanted to put this next to each other. I didn't have the skill to be able to put it side by side. Just to speak about the ways in which the symmetry is disturbed by the lines. Still there is symmetry, but because he changes the directions of the lines, he evokes another and conveys some other meaning. This is also Philip Moore's guy. 

^KC This is him again, but he's now encrusted a mask, another form we use in this exhibition.

^KC The mask is an important symbol that is used. It's a symbolic shape, but he has encrusted this shape with a multiple of symbols that could be read. A lot of faces and masks on the faces. 

^KC And, this is Carl Abrahams. Carl Abrahams is a Jamaican artist. Also, I'm sorry, I'm just using these past practices because it's important that we know something a little bit more about our history. This is where I came and shone. They would eventually fall into– into line with the [laughter].

^KC They would eventually become past masters. But they are the present masters. 

Carl Abrahams, yes, let's take this next one. Alright, this is Carl Abrahams really now dealing with one of the big stories in Christian theology. The Last Supper of Christ. You know, it's interesting, by using this one, there is a shallowness of this face that he's using. He's not setting him in a room. He's not setting them in a field or anything. But he's putting them together.

^KC But what I found interesting and intriguing in this thing, they were aware at this point that police were looking for them. Because, you know, something has gone on and they know about the place. So, Carl Abrahams, I'm showing this Last Supper. Because, I mean, Christ is familiar with the theology of the United. You know that Christ said, well, you know, this is my Last Supper. This is my wine, this is my body, remember me and so on.

^KC And, you know, so he's now dealing with the emotions as they run around this table. You know, who is saying, no man, that can't happen. This is, no, no, no, no. You know, you could feel the energy of the discussion that's going on. And who is trying to convince Christ that, no, don't go so easy into this thing. You know, bringing a reality. This is the point that I'm trying to make in this. Trying to bring a realism that is not superficial then.

^KC Trying to bring a human reality to a familiar scene, to a familiar narrative. Grounding it in the reality of people, of everyone.

^KC Okay, and of course, backyard parties, plenty people, noise making, and so on. And using it as a way of so many vignettes, so many stories that's going on. What kind of party is it? Uses a little bit of color with the cook. And you know that it has to do with some kind of religious activity.

^KC And, you know, it's a panorama of activities. Series of vignettes that's going on. And he's asking you to read the thing. And there is no sequential way of reading it. It's not reading from left to right as in the first piece. Read it anyhow you want. You want to start up here, little children climbing in the trees. Or you want to talk about somebody else down there, and so on. So, you know, he's really telling a big story.

^AUDIENCE Why is the focus on the orange person? 

^KC Oh, he is the, there's a, it's a Pokéminer event. And the, I forget the name of the lead character in it. But he's like the high priest there. And he uses color just to highlight him. To say, hey, look at him. This is the main man. This is the man that puts this whole thing together. Because he wants you to look at his, the crook, that he’s holding.

^KC So, it's a use of the language to tell the story. And to tell multiple stories. And, you know, you can see from the way in which the figures are, the proximity of the figures. The way in which they are placed next to each other. You know that it's the crowd. The way they are dressed. You know that they are a lower socioeconomic group. It's probably a rural place because of the background there. There's something about the lights.

^KC So, it's telling you a lot of things. That is part of the reality of a community. All right. Yeah, this is him again. But what I wanted to point out in this is this stylization. All right. He's not trying to create a realistic coconut tree. But he's telling you, hey, this is a coconut tree. And this is some kind of trees there. See this? This might be a mango tree. You know, he's not trying to give you a literal description of it.

^KC But he's trying to tell you that these are what it is. But in order for you to look at it, he is giving it a texture. So, the texture tells you that, you know, we all know that trees are very textural things. All right. And they're very different. A mango tree next to a cedar tree. Two different textures. It's part of our environment. So, he's using textures to speak about the variety of green and the variety of trees that are in our physical environment.

^KC It's also part of the reality. But, again, using the language of art to speak about it. Again, it's very shallow. He's not trying to make you think about colors being brighter in the foreground and lighter in the background and darker in the foreground. And, you know, it's equal color. But by their placement and by that shallowness of his speech, making sure that you see these figures dancing in the background, in the middle distance here, without them being obscured.

^KC Because in reality, you would not have seen this figure, these figures, because they would be too far away. But he's using it against the language to be able to tell a story. All right? Yes. 

^KC And this is, he's trying to tell a story, a feeling of the music. Chopin's Polonaise. Somebody described the Polonaise as Soca of the time. Because people would, it's a gay dance. Anybody else? A Polonaise is a gay dance. And, you know, it's a happy, bubbly sort of dance.

^KC So he's trying to interpret the dance and the music. I mean, it's self-explanatory, right? The thing about it that I also found interesting is the relationships that he presents between the women and the, oh, the female figure and the male figure. Now they are not, and I don't wish to say that they are men and women. They're not men and women. But there is a quality that he's trying to, a metaphorical statement he's trying to say about, maybe the melody is feminine, but then there's a guy in here, yes, him there, and he's playing a woodwind.

^KC So he's probably trying to say, oh, you know, the woodwind in this Polonaise is a male sound, while the other instruments are creating something that is full of movement and vitality, something that he's suggesting might be female. All right? Now remember, a lot of this art, but all the art that I've shown you so far has been art that is made by men. So men think about women in a particular kind of way. All right? That makes that part right.

^KC Yes, okay. There's some Rastafarian art that I wanted to show here. I'm sorry I didn't have better slides of it, but I wanted to show this because it's a trend, a theme, a genre. So it's what I was looking for in Caribbean art that runs through, and I wanted to show it in relation to Akyem's and Ishi's work and the others. All right? So it's not the best, but I'm sorry. But I just wanted to say that this is from Jamaica.

^KC All right? Oh, yes, as it said at the top. All right. Okay, we can move on again. This is another, again, a little bit of similarity in the ways in which the figures are presented, and again in this shallow space, and the distribution of figures. 

^KC Now, the language used might not be as eloquent or well-spoken as Akyem's, but it's nonetheless been spoken. All right? And that is an important part of expression. It doesn't matter whether you're speaking perfect English or broken, as they like to say, or pidgin or whichever.

^KC The important aspect of it is to express oneself. Again, and clearly this one is a religious ceremony, but I wanted to use this one because there are echoes of Egyptian art, a very formal process of art making, where they use methodical free, and it's being presented, it's figures in profiles and so on. It's not as formal as the Egyptian style, but it is a way of using the language. 

^KC Yes, question? 

^AUDIENCE It's not really a question. 

^KC Yes, please.

^AUDIENCE I would say that this one and the last one remind me of Illuminated Manuscripts. Yes. Specifically, the ones from Ethiopia. 

^KC Yes. 

^AUDIENCE The Ethiopian Illuminated Manuscripts, they would use Christian theology, but they would have their own subject, and they look a lot like this. 

^KC That's right. 

^AUDIENCE  So, yes, this is Rastafarian art, but you can see the correlation in the language that was happening in Ethiopia during medieval times. 

^KC Thank you. That's very good and useful observation, yes. All right.

^KC We all have this logo in our coat of arms. You know the idea of symmetry and the placement of symbols. The fusion of animal and human characteristics as a way of creating, making, again, a metaphor, metaphorical statement. These are lions, clearly, as we could all understand. They're not only human beings. They're humans who have the spirit of the lion, and, you know, they're holding up the logo. We all went to the Caribbean. We went through in the 1960s.

^KC Everybody was going. We were all, as former colonies, moving towards independence, and everybody was recomposing their logos, making heraldic statements. Yes, the use of it as a mural. The idea of the mural, which is really what this is. It's a pale slide. I just wanted to use this one to speak about the public nature of the expression. It's not something that's really only for inside of a room, but it was also for the adornment, the presentation of ideas on a building, sacralizing this building, for example.

^KC Okay? Okay. Yeah. I just wanted to show some of the early Ras Akyem’s work that I used, that I still enjoy. So, some of us are very familiar with this work and the way in which he worked at this time. So, again, we could go again. I think this one is done in around the same period of time that he was doing Black King Rising. I'm sorry, but this one is two years out here. There's a hot spot in this one.

^KC All right? We begin to see some of the symbolism that is evident in the exhibition today. The head figure, the crown of thorns, as you were saying, but I always refer to it as a halo. The figure, and so on, you know, one of the influences. I always pay homage to Basquiat in the painting that he has established on the wall there. Basquiat is also a Caribbean artist, but lived in New York. Probably one of his most iconic images.

^KC Okay. There's a couple of things I want to show from Haiti. Still Haitian, Haitian works again. But again, all right, I don't even need to speak about the language. 

^KC All right? I don't know. Are you tired of these? Or you want to move on to something else? I would really like to begin to... Oh, yeah, these are... The slide fell apart, but these are images that... There is a movement. There was a movement in European art that is referred to as primitive art.

^KC And there's so much comparison that could be made. I was really interested in artistry, especially early Christian paintings. You see a lot of similarity in the art of the Haitian, Christian, Haitian works and so on. I just thought I'd show some of these. So that even though the language use is... We're using the language of the Caribbean, but it resonates. It holds relationships. It establishes parallels with what has gone on in Egypt. Well, now Ethiopia as well, and in Europe and Italy, and so on.

^KC Taking a lot of those themes and so on together. All right? I want to switch a little bit to talk a little bit about my own paintings. 

^KC Oh, I forgot to talk about Aubrey Williams. Because there's an Aubrey Williams in the bistro as well. I think I have over two or three. Thank you for bringing them up. Aubrey Williams was a Guyanese artist. He too painted a mural at Independence Time in Guyana. But he spent a long time in England because of the troubles in Guyana.

^KC And also so many Caribbean artists went to the United Kingdom just before the period of independence. Because there was a call to come and help build back the motherland after the destitution of the war, destruction of the war, and so on. So he went to London and practiced as a painter. Coming back and showing and back and forth and so on. But he was a mixed race person. And he wanted to speak as well, not only about his African heritage, but also his heritage that lay among the indigenous people of Latin America.

^KC The Mayans in particular. So he did lots of images to bring these images into the public purview. Now, these images are very popular today. But in the time, these were really revolutionary pictures. Because people didn't know about the art of the Mayans and the Incas and the indigenous civilizations that were met here.

^KC Oh, Carlisle Harris. Yes, I can’t leave out Carlisle, sorry. These are some of early Carlisle Harris. Oh, who is this guy here? [laughter] Alright, these are some of my other works here.

^KC Okay. But I had some other slides that I wanted to show. Okay. Yes, so that is what I wanted to say about abstraction, the language of art, and the ways in which a generation of West Indians, Caribbean people, have been using the language to tell stories about ourselves. 

^KC Yes, that's it. 

^AUDIENCE So of all the people you've shown us, you are the only one who has ventured into complete abstraction. It appears then that you have abandoned storytelling in favor of an iteration of the elements. Do you want to tell us a bit about your relationship with storytelling?

^KC Yes, I wanted to do that in a nutshell. Thank you very much. You know, several years ago I came to Barbados to deliver a lecture on romanticism in art. And that's where I met Therese [Hadchity] for the first time. And she asked a very insightful question that transformed the end of my presentation. I've always remembered it for that, because it was very funny. I remember it very well. So thank you again for that. Yes, well I just wanted to show you a little bit of what I've done.

^KC Yes, I have not abandoned storytelling. I have tried to take storytelling to another level of representation. For whatever it’s worth, I found that we are too bombarded with images. And especially images that are used to market products and things like that. I wanted to find another way of using the language in a really very primal manner. I, as part of my own journey, wanted to go back to the absolute beginning of art making. Like a key theme, if you want to call it that.

^KC You know, who only had a couple elements to try and speak with that. And that's what my images aspire into. So I try to attach colour to one's emotions. So that the colour becomes the opportunity for you to feel what the subject matter of the painting might be. So I like to think about it as we're moving along a continuum. There was a linear way of telling a story. We found different ways of telling a story.

^KC Instead of telling a story from the past to the present, we could tell a story from the front, from the present, and go back to the past. Or we could do it, and we could go up to the future. You know, give yourself that kind of flexibility in which you can now create a narrative. And I wanted my painting to do, the aspiration is to do something like that. To create a felt moment. A feeling that would be like an entry point into the painting.

^KC And I imagine it would be different for everybody because we all come to the world with our own histories and our own expectations. And I aspire to make in these painting that join between the self experience of the individual and the painting. 

^KC So this is an excerpt of a painting. But in this one, I used two framing devices to hold the experience together. Two verticals to frame and hold the experience together. And using a series of directional lines, if you want to call it, take your viewing experience into this, an immersion into that bright yellow, white, and there's some gold leaf in there as well.

^KC This, in this painting, I'm trying to, and in this one, and there's another one that I do a little bit later on in this, in which I'm trying to talk about the immersion that we have in the Caribbean, in the light and the heat. We go out into the sun. I want to talk about that story. Because when this nice brilliant sunshine is put on a dark shade or you get an umbrella, this is part of our natural response to it.

^KC Or we just enjoy it. Like there was so much rain yesterday. There was so much sun this morning. I had to go down to the beach by Hastings to go and stand up on the boardwalk and feel that sun and the waves and the sea. Those feelings that I wanted to engage with. There is a story in there that I want to speak about in this painting. It was done some years ago, but I hope it serves as part of the story.

^KC So I'm trying to take the storytelling to another dimension. This is a pretty large painting. It's about 9 feet and it extends for 154 inches. That's what, 4'4", over 8 feet. Oh no, 16 feet. So it's almost a mural in size in a sense. And this one I called ‘Blackened Earth’. And this is built on the idea of projecting the viewer into this pink emerging environment. It is about trying to tell a story about possessing the landscape.

^KC You know, we've all been immigrants to this land. We've all been brought here or came here for different reasons. And an important part about that process is being able to take possession of the place. Taking possession so that one can be of the Caribbean. I don't know how else to say it. So that's part of the narrative that I want to get to. That high contrast that we take for granted only until we travel to another part of the world and we become disoriented because the shadows are not as rich and dark and the light is not as bright and brilliant and so on.

^KC You know, to speak about those issues of our possession. Similar or different, but also the movement. I was standing outside this afternoon and looking at the wind blowing through the casuarinas outside. And the casuarinas, I wasn't aware it was such a delicate tree. You know, you could almost feel it. You want to pass your fingers across it. It was so soft. And, you know, looking at this now and I thought, wow, this feels like that. So those are some of the stories I want to tell in an image.

^KC These are stories that I hear poets try to evoke in literature. Musicians try to do it in their music and so on. It's taking the discussion to another level, another way of talking about it. I don't know how clearly you're seeing it. This is trying to deal with the actual meeting of the mark. You know, that frenzy, excitement and so on. Try to use the language, not necessarily to make a literal narrative, but to evoke the quality.

^KC All right, this one is called Radiance. Geez, I wanted to capture that absolute brilliance. And it, yes, has to do with the light, but also has to do with that feeling of positivity. How you engage with that aspect of reality. I want the image to empower the viewer. 

^KC This one is called Joy. There's another part of the phrase Joy, but that's explosive movement. One of the things I wanted to touch on as well is that I am a failed musician. [laughter]

^KC And I try to use the colors as if they were sound. So I want it to be loud. I want it to be harmonious. I want it to be rhythmic. And all of these things that the musicians do with the wind and with [taps desk] the drums and things like that. Those are some of the things that I try to do with my own work. So it's not only about the literary narrative, but about the emotional narrative. The journey through our subconscious, and the journey through our experiences.

^KC Those feelings. Thank you.