The prophecy Is a movement, a shapeless cosmic object that carries the motive of the archaic.
It was destined to fail - to be lost. The seed must be planted, hidden like a spy, then rise up through the art.
In a time of fire, the forest animals escape with all their might. for that purpose, they dissemble and shed all of their interactions and characteristics. The correlations between prey and predator, the acts of mating - all are being peeled by the fire. The animals escape, and their existence becomes narrow and sharp. They are redeemed. Bear, antelope, rabbit, and tiger - the burning flames change their names to one unified erased name. In the act of their retreat, in their runaway, they are none-bear, none-antelope, none-rabbit, none-tiger. they are the cosmic matter in its most purified, diluted form. In a similar way, the act of painting cancels the linguistic connectors and redeems the language, and therefore, this betrayal is the ultimate act of love - the way a shore rebels the sea.
A painted dog is not a dog, but a dis-dog, a dog-less dog. it is not a description of a substitute for a dog as in the spoken or written language but the act of the untying of a dog until an ultimate absence of its dog-ness, while what remains painted is anything except a dog.
Art arises in the absence of loyalty.
The act of painting can disrupt language's ability to convey meaning through the removal of linguistic references. Instead of being completely vacant, the language becomes excessively cluttered, rendering it useless. As a result, a new form of language emerges from the shadows, characterized by its absence and diluted nature. This language quickly draws in those who defy conventional language norms, including those who lack direction and purpose.